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Cold is what you procure in “Freeze me,” a revenge myth directed by Ishii Takashi, writer of the base Japanese terror film “Unfavorable Expressionless Trap.” All revenge tales, from “I Spit on Your Grave” to “Extinguish Bill,” part a popular plot; Person is wronged, person wrongs aid. “Freeze me” takes this familiar chronicle and frames it in an uncomfortably realistic scenario of current Japan. The stigmatism of being raped can be so strong that the majority of occurrences go unreported, but are simply buried away as a uncouth secret. While this may seem unthinkable to many viewers it is a harsh truth.
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The yarn unfolds in a fairly predictable method. It is a revenge film after all. However, there is no joy in Chihiro’s vengeance on her attackers. She is a destroyed character, wronged beyond the point of experiencing any relief or possessing any strength. Even dumb, her violators continue to haunt her, as she keeps their bodies in industrial freezers in her apartment, unsure of how to dispose of her evidence.
Ishii keeps the camera work tight, intimate and downhearted. We are brought closer into Chihiro’s world than we would want to experience. The viewer is trapped into the same tight plot. The colors are muted, with the icy blue tint of the frozen corpses being the most radiant thing in the film. The resplendent Inoue Harumi, who plays Chihiro, is nude for distinguished of the film, but her nakedness emphasizes her vulnerability rather than offering the viewer any pleasure.
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One of the strangest and most unexpected elements of “Freeze Me” is seeing Takenaka Naoto, who is so likeable as Butterfly Joe in “Ping Pong” and The Dolphin Trainer in “Waterboys,” playing such a spoiled character as lead rapist Baba. It is trustworthy to behold his range as an actor.
The main weakness of this film is that it is a revenge film, and thus familiar enough to be predictable. It does not improve up the basic station stylistically in the procedure that “Slay Bill” does, not does it bend the boundaries of unpleasant violence such as “I Spit on Your Grave.” It does do a satisfactory job of presenting a generous genre flick. Definitely worth a viewing, but not something that will rock your world like “Audition.”
The modern importation of massive numbers of Asian panic titles has kept me busier than a one armed paper hanger. Takashi Miike’s voluminous catalogue of films alone–he often makes three or four a year–is usually enough to satiate my hunger for these movies, but when I tire of “Audition,” “Expressionless or Alive,” and “Visitor Q” I cast my eyes deeper into the Far East. I can always use time with the increasing numbers of Korean films, like “The Isle,” or even commence trying to retain tabs on the latest entries from Thailand. Then there are the Hong Kong Category III shockers, “The Untold Yarn” and “Ebola Syndrome” to name objective two. These latter films are usually so disgusting that I have to exhaust a few weeks washing my palate out with sub par American slasher knockoffs impartial to recover from the general nastiness. Recently I’ve been on an Asian kick again, so I guess it’s time to churn out a review or two. Takashi Ishii’s “Freeze Me” seems as pleasurable a area to initiate as any. It’s a movie from the Land of the Rising Sun that is more at home with a Charles Bronson “Death Wish” characterize than a slasher or gore flick.
Yep, what we’ve got here is a splendid conventional revenge film, but with greater depth than you would suspect. The film begins by introducing us to a magnificent young woman named Chihiro (Harumi Inoue), a gal with a fine job, a nice if quite minute apartment, and a caring boyfriend named Nogami (Shunsuke Matsuoka) . Our buxom heroine, unfortunately, harbors a horrific secret that is about to near serve and bite her in the you know what. Out of the blue, she happens to salvage a gawk of a decidedly unwelcome presence hanging around her mailbox in the apartment building, a guy she knew roughly five years before succor in her home town. Through flashbacks, rather cringe inducing flashbacks at that, we advance to learn exactly why Chihiro fled from her childhood digs and headed for the intellectual lights of Tokyo. The chap leering at her from her mailbox, along with a couple of pals, assaulted our young gal in a particularly wrong manner on a cool, snowy day. Moreover, these thugs videotaped the festivities and promptly sold copies through the mail. Now five years later the nightmare returns. All three men will eventually expose up at Chihiro’s apartment to relive mature memories.
The three thugs–Kojima (Shingo Tsurumi), Hirokawa (Kazuki Kitamura), and Baba (Naoto Takenaka) –simply don’t trouble about Chihiro calling the cops or seeking other assistance. They seem to seek information from that her alarm of being exposed to her boyfriend, whom she didn’t impart about the assault, as well as distress for her general reputation should the videotapes reemerge will sustain her still. They are good. Chihiro goes to huge lengths to preserve this secret, mainly by making clear her boyfriend will not arrive relieve to the apartment. And the secret is kept to the titanic detriment of her tormentors. You peer, they made the mistake of showing up at her lodgings one by one instead of as a group. This allows Chihiro to destroy each of them in grotesque ways (a knife in the shower or a hammer to the head while a tormentor plays a videogame work equally well, it turns out), but the murders prove a ample dilemma. What to do with the bodies? She can’t very well carry them through the streets of Tokyo. The solution involves ordering a stout freezer, placing a body into the contraption, and then using it as a section of furniture. A pickle with the electrical system ultimately leads to a rather malodorous defrosting exertion and a problematic choice for our heroine. “Freeze Me” is indeed a execrable bit of work.
Ishii’s report is a glorious portion despite the rather nauseating subject matter. The cinematography works wonders considering nearly all of the action takes set in an extremely microscopic apartment, the performances are first-rate for what is essentially an exploitation film, and actress Harumi Inoue is a accurate beauty who has diminutive objection to prancing about in her birthday suit. More vital, however, are the numerous layers to the film. Coldness plays a enormous role, both metaphorically and literally. The attack took state on an extremely cool winter day, and the memory of the assault has doubtless frozen itself into Chihiro’s memory. In some device, that horrific day placed a coldness in our heroine’s heart that can only regain expression in returning the favor to Hirokawa, Kojima, and Baba. It’s no mistake that she chose to achieve them in freezers; it’s merely her method of turning the attack assist on her tormentors in a poetic justice sort of design. Of course, I could be reading far more into the film than is actually there. Perhaps “Freeze Me” is nothing more than a mindless exploitation film reveling in images of graphic violence and excessive nakedness. Why not? There will always be an audience for such fare in films, especially when they approach from Asia. Filmmakers over in those parts have no qualms about showing things that would never pass the MPAA.
Supplements on the DVD are sparse, slight to a few trailers for other Asian features and a director’s biography. Oh well. The film is wacky enough to acquire your attention without a bunch of extras muddying up the waters. If you’re a fan of films like the “Death Wish” series, any of the Dirty Harry flicks, Meir Zarchi’s “I Spit on Your Grave,” or Abel Ferrara’s “Ms. 45,” you’ll want to hold up a copy of Takashi Ishii’s “Freeze Me.” It’s a bit deeper than the average American revenge film, at least in my concept, and the movie will serve bear out your collection of films in this notable cinematic subgenre.
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