8. Gothic and Lolita Psycho (Go Ohara, 2010)
Another movie that benefits largely from Yoshihiro Nishimura 's presence, Gothic and Lolita Psycho is probably the foremost ridiculous title of the list
In a transparent reference to Kill Bill, five peculiar individuals invade little Yuki 's home during her birthday, assassinate her mother and leave Jiro, her father, handicapped. A few years later, Yuki transforms into a gothic lolita and initiates her revenge upon the five murderers, using an umbrella weapon her father manufactured. Additionally, at some point she realizes she has supernatural powers.
The director, Go Ohara seems to grasp what a successful sample of the genre ought to entail: Female protagonist fighting cute girls, unstoppable action, anime-like aesthetics,
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Takuya, frustrated by the constant bullying, wreaks his fury on his mother, Keiko, beating her over any insignificant excuse, even in front of his indifferent father. Keiko finds solace on drugs, when she is not prostituting herself. Eventually, an individual unknown to them, seems to establish himself in their house, proceeding subsequently into torturing all of them. Through actions of incest, murder and necrophilia among others, chiefly caused by the stranger 's presence, the Yamazakis manage to become a family again.
Miike incorporates in Visitor Q the aesthetics of a reality show, thus resulting in a film resembling an experiment of what would happen if he was to direct a sit-com.
He presents an inordinately problematic family, whose members though, appear to be functioning in orderly fashion, where each one plays his role, without ever questioning the obvious pervasiveness of each other.
His characters portray the archetypes of the decaying contemporary Japanese society. Kiyoshi, who feels humiliated due to his labor failure, sexually ignores Keiko, who feels deprived. Takuya is a spoiled brat who receives and delivers violence and Miki has neither sense of purpose nor direction in