7) Necrophilia (short) (1980) – 8.5/10

This obscure short from South Korea has a title that doesn't really fit with what it's all about, being more of a bizarre romantic offering about obsession, love and darkness. It’s visually fascinating, and a real puzzle that demands pulling apart. It might not be the easiest one to find, but it does weigh in as this year's leading short film for Film Gutter.

6) Society (1989) – 8.5/10
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Another one of those underground favourites that still has plenty to say today, and this story of the rich literally eating the poor is probably more apt than ever in 2019. While the majority of the movie is loaded with paranoia, it's particularly renowned for an absolutely outrageous finale, and even now the closing 20 minutes of this one need to be seen to be believed.

Be sure to tune in next week for part two of Film Gutters rundown of the top ten films 

It's interesting to think that numerous of these 80s movies don't really hold up in the current day – barring the nostalgic rose-tinted glasses we all wear sometimes - and when you factor into that I'm not the biggest fan of b-movies you might assume I'd be a little down on this one. But this one reminds me immensely of Society, directed by Yuzna, in that underneath all the insanity there's actually something being said. Sure, it goes a pretty extreme way about it, but the moral of Lovecraft's original is not lost, and nor are the messages of medical ethics, playing god, how we feel about life and death, relationships, friendships and more inbetween. It's true I'm not always big on b-movies, but where there is substance they stand a much better chance of making a lasting impression and being a satisfying experience. This one also has a vibrant energy and creativity to it also – the effects still look very decent today, and their quirkiness makes for compelling viewing throughout. 

Throw into all that a memorable lead performance from Combs, as well as an iconic role from Barbara Crampton, and what you have is a heady mix that can't help but make you laugh, smile, and maybe even scream once or twice en route. There's never a dull moment, whether those moments range from the silly and outrageous to the dark and disturbing.

For me Re-Animator is one of the best examples of its form, right up there with the likes of Frankenhooker and the aforementioned Society, and as such earns a high grade at 9/10. If you've not yet had the chance to check out this cult classic, do yourself a favour and give it a watch!

Having just taken a good long look at Society, it was all too tempting to come back to look at some more of Brian Yuzna's work, and I managed to discover something reasonably obscure – or at least a movie I'd certainly never come across before. And on top of that, I believe it's the first superhero movie we've had the chance to cover here at Film Gutter!

Those of you with long-ish memories will recall that the 90s were not the greatest time for superhero movies, or indeed comic book adaptations in the broader sense. We saw the likes of Tank Girl, Barb Wire, Steel, Roger Corman's Fantastic Four, even Spawn – which I will be revisiting shortly. And coming in at the very tail end of this is 2000's Faust: Love of the Damned, a remarkably strange comic book movie that even days after watching I can't quite wrap my head around.
 
The story itself follows John Jaspers, whom we first meet as a patient in a psychiatric hospital. He's effectively catatonic until he is awakened by unconventional young doctor Jade De Camp and her music therapy (sort of). He goes on to tell her of an incredible (and incredibly rushed) story of how he struck a deal with the devil to get revenge on the men who raped and murdered his girlfriend, all covered in scarcely more than a few minutes. It's not long before he's being suspiciously transferred to another unit, but of course it's the devil's minions and he's forced to make his escape. In the mix of all this also is Lieutenant Dan Margolies, a hard-ass cop played by the inimitable Jeffrey Combs (a firm Yuzna favourite), who wants to know more about this mysterious figure and the murders he has committed.

What follows is really rather hard to explain, as John Jaspers moves beyond the control of M – the 'devil' character of the story – and starts to strike out against his master, all the while having a staggeringly, staggeringly awkward love affair with Jade de Camp. Seriously, in two minutes she goes from being worried about getting raped, to saying 'I wanted you from the first moment I saw you', to then screaming as she recalls her childhood abuse, to then sleeping with him. It's an utter, utter mess. There's a subplot on the ‘evil side’ too as M's assistant Claire looks to usurp him with the help of various minions, and that tension also leads to one of the most bizarre special effects scenes I've ever witnessed – in fact it's oddly in keeping with Society. All of this leads to a thrilling conclusion with a bonkers demonic ritual – if you ever wanted to see Jeffrey Combs swallow a whole snake, you have come to the right place – and plenty of blood and guts for all.
 
It's a Yuzna movie, so there's a good bit of gore to go around in most of the action scenes, and I must admit the soundtrack (courtesy of Roadrunner Records) was a real treat for someone who grew up with late 90's metal. Other than that there's not a huge amount to recommend – I've not read the comic book, so I can't tell you exactly how faithful it is, but everything about this film feels somehow off. Mark Frost in the lead role seems to overact horribly throughout, and to be honest the rest of the cast seem to alternate between overacting and underacting – even the extras add another note of strange discordancy to this one. Jaspers's story is undercooked, the Jade de Camp story makes next to no sense and has an obvious conclusion, Margolies's plot arc seems to skid to an abrupt halt, Andrew Divoff as M is going for a certain suavity, but even that doesn't seem to quite stick somehow. The dialogue is largely wooden, the plot structure is troubling, and for every moment that has something going for it is outweighed by three of four that just didn't work.

This one certainly has echoes of Spawn, both in its look and its music cues, but I'd put this one underneath even that – and Spawn I wouldn't rate that highly. Faust is one of those movies that is somehow fascinating in its execution, a weird Rubik's Cube of a movie which you somehow can't put together right despite all your efforts. There might be a good remake in this someday, but it'd have to be much more carefully, thoughtfully delivered that this gaudy collage.

RATING: 2/10. There are some bits and pieces here that are decent, but as a superhero film it's just a strange, strange offering. It can't seem to quite decide if it wants to be a fluffy 1990s superhero movie or something significantly darker than that, and as such lands in a hinterland where it's really neither. I'd almost recommend watching it to see if you can unmuddle it, find a way through the confusion to what this movie might have been, but that's the operative phrase – might have been. Whatever promise Faust had it rarely delivers on it, so this low mark sadly feels fair.

When it comes to horror movies, I record a huge amount from TV. I'm constantly filling the Sky box with all sorts of films – old, new, things I've seen, things I haven't, things I've never heard of and things I want to revisit. And on a recent trawl through the selection Society leapt out to me – a movie I've not seen since my University days, where I watched it as part of an all-nighter of five movies rented from the video shop (oh yes, the video shop) for £5. Most of those cheap rentals were fairly terrible, but man it was fun to watch so many of them on VHS back in the day. That was probably about three in the morning, where I was half-nodding off, and while numerous of the details were pretty hazy (it's more than likely I missed large chunks of the plot) I did have a reasonably clear recollection of the ending if nothing else.

Thirty years on from its release, does Society still have the same sort of impact it did all that time ago?

Society follows the story of Bill Whitney, a young man who feels distinctly out of place in his family and indeed in the rather swanky end of society that he inhabits. He doesn't really get on with his parents and his sister, and has only a few friends at high school, most of whom are not on the 'cool jock' end of the spectrum. As time wears on, he starts to wonder if there is something more behind his strange sense of disassociation, and when his sister's stalker catches a very strange family chat on tape things take a much darker turn, and Bill begins to wonder just who the people he knows are really...

Society is a fascinating animal in many ways, much more slow burn than many of the subsequent offerings from cult director Brian Yuzna. While there's still a comedic edge to much of the film, there is something distinctly dark and off-kilter too, and the conspiracy theory that runs throughout is plenty sinister. You can understand why Billy is afraid, and you could easily wonder if he's imagining things or something real is going on. There's a lot of solid performances, and as an on-point rip on 80s culture it's dead on. Honestly it's probably as prescient now, if not even more so, with the rich just getting richer and poverty growing and growing all the time and class gaps expanding all the time. Some movies seem not to age at all in terms of their relevance, and this is one of those occasions.
 
And then there's that finale of course, which is the most talked-about element of the film, and rightly so. It really goes from subtly weird to flat-out, in your face, balls to the wall crazy for the last half-hour. The visuals are bonkers, and the effects feel really laboured over – they've probably dated a little, but they still have quite the impact as a viewer. Despite how disgusting they are, they still remain fun somehow – which might just be the perfect summation of this movie…

RATING: 8.5/10. Society is very much worth watching, not only as a creepy, fun film in its own right but also one with a truly unforgettable denouement. There are lots of likeable performances, and the tale is well-paced and nicely structured, with the oddities building and building throughout before exploding in a truly raucous set piece to close. I'd hesitate to call it a stone-cold classic, but there's plenty of cult appeal and you'll probably laugh and gaze on in silent horror in equal measure.

Having been trawling the murky worlds of Film Gutter for the better part of five years, how on earth have I not come to look at Riki-Oh yet? This Hong Kong movie has a huge reputation as a cult movie, and also as one of the most violent films ever committed to screen at the time – quite possibly ever. It's based off an equally brutal manga, and has the distinction of being the first Hong Kong film to achieve the notorious Category 3 status for something other than sexual/erotic content. But how does this one stack up all these years on?

The year is 2001 – the far-flung future! – and private prisons are cesspools of corruption and gang warfare. Into this melee lands Ricky, a young man sent to prison for taking revenge on a crime lord for his heinous actions. But Ricky is no ordinary inmate – he's been trained by his uncle in martial arts and has not only incredible combat skills but also superhuman strength and resilience. It's not long until he finds himself the target of the Gang of Four, a quarter of kingpins who effectively run the prison along with the crooked governor. And so begins an absolute orgy of excess the likes of which you might never have seen, and are probably unlikely to see again.

Now don't get me wrong – I can see why this movie has achieved a cult status. For anyone who is big on martial arts movies, you'll probably get a kick out of this one (if you'll forgive the pun). The action itself comes thick and fast, and there's liable to be enough blood and guts to keep most gorehounds happy as well. But to be honest, this one does fall apart fairly quickly if you give it a close inspection. As such, it's important in many regards to switch your brain off before you hit play and just enjoy the crazy action for what it is – it's as much pure spectacle as it is an actual movie, a cavalcade of outrageous scenes filled with bonkers special effects and over-the-top violence. It's also fair to say that the English dub does this movie no favours at all – some of the voice performances are frankly ridiculous, and don't do anything to sheer away the slightly silly veneer that the film has.

Personally I wasn't a fan of this one. Any long-term readers will know that I'm not much of a fan of real gratuity in films, and Riki-Oh is gratuitous in spades. I also found it hard to overlook some of the logic holes that were featured in this one – I won't pick at those particularly here, because that is fairly spoiler-ish territory, but you'll certainly know then when you see them. My final criticism was in evidence in the very writing of this review, where more than once I wrote 'game' instead of 'film'. And that's the ultimate feeling – this would actually be a blinding good video game if anyone had ever turned their mind to making it, and there's a sense of climbing through the levels before finally meeting the boss at the end. And that will appeal to some, but it wasn't really to my taste.

RATING: 5.5/10. In my view, Riki-Oh is a mess. But it was based on a mess, and was only ever really meant to be a mess. In its way it's an entertaining mess, but I can't get over the fact it is (once again) a mess. The story jumps all over the shop, and the lead character is all but indestructible, which diminishes any tension. There's a level that you can get something out of it as a spectacle, but as an overall film I can only go a scooch above average at 5.5/10.

Dir. Matthew Eskandari/Michael Pierce, USA, 90 mins

Before we get into it – there are a lot of films that share this title, even in recent years. There were separate films on top of this called Victim and The Victim in 2011 alone, and of course the first movie to appear on IMDB being the famous 1961 offering directed by Basil Dearden with a wonderful central performance from Dirk Bogarde. Just to be absolutely clear, if you want to make sure you're watching the right movie, it's this one...
https://www.imdb.com/title/tt0918575/

So, with that disambiguation completed, what of Victim? This is one of those movies that I knew absolutely nothing about ahead of time – just a pure stumble-across that sounded sort of interesting from its blurb – and I'd say in conclusion that I probably got more than I bargained for. In my experience, most films that I have found extremely upsetting come with a sort of reputation that proceeds them. There may well have been more graphic and gory films I've seen, but I can't think of that many that have felt more genuinely distressing than this one. The opening credits themselves are a sort of Lucifer Valentine ‘lite’ – I'm thinking in particular of Perfect Child of Satan for the LV enthusiasts out there – and set a fairly unpleasant tone.

We then meet our unnamed lead, a young man who is established as something of a smooth operator (or at least someone who fancies himself that way) before he gets attacked and kidnapped. He awakes to find himself in a basement prison cell, trapped by a sinister surgeon by the name of Dr. Volk and his henchman Mr. George. At first it's slightly unclear of what their intentions are, but as the film wears on things grow ever more apparent – they want to break this young man, make him forget his past and his roots, and turn him into a woman against his will through surgery and psychological measures. It turns out that he's effectively going to become a proxy replacement for Volk's daughter Rachel, although as the plan nears completion the web of police and detectives closes in...

The concept of not naming – and barely establishing – the ‘Victim’ of the title is an interesting choice, and one of those things that could go either way as a viewer. You could easily argue it makes it harder to feel real empathy or sympathy or alternatively you could land on the other side and say that ‘blank slate’ makes him feel like an everyman, and that this is something that has the potential to happen to anyone.
 
Now I don't want to say the film is perfect, and in fact there were bits of this that almost – almost – broke my suspension of disbelief. There are moments of acting that feel a little off-point, but there's a definite grittiness and griminess to this movie that does demand and hold your attention. It's so bleak and unremitting it put me in mind of something like a Megan is Missing – the whole central conceit is so f***ed up it's hard for it not to hit home to some extent. I could certainly get why some people wouldn't like it, because if you don't feel able to go with that conceit then Victim is liable to pass you by. But if you accept its dark heart and immerse yourself, this movie is bound to stay with you for some time despite its flaws.

RATING 7/10. I’ve thought long and hard about what to rate this one. There was a lot I liked – or maybe ‘respected’ is a better word for such a grim feature – but there are enough flaws for me to knock it down at least a few marks. With that said, I can certainly see this one dividing opinion – something the briefest scan of IMDB reviews backs up. There are elements of this that a viewer will either go with or they won’t, and those things will most likely be what determines your own view of this movie. For me this was dark, horrible filmmaking that is bound to leave you with a could hanging over you, at least for a little while, and for all those reasons I’m landing on 7/10.
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I'll be honest from the get-go – this review is purely me indulging myself, and I'm not even going to make any apologies for that. Those of you who have been long-time readers might remember just how much I raved about the extended version of this one back in March of 2016 (you can check out that review at https://gingernutsofhorror.com/film-gutter/excision-2012 if you fancied taking a look) and it's been on my mind for a while to take a look back at the short film that inspired it in the first place. In these instances where it goes 'short first, longer second' it's always fascinating to compare and contrast the two, so I was pretty excited to check this one out.

Excision certainly follows the plot of its longer cousin, although it doesn't have any of the actors and actresses involved in common. Tessa Ferrer plays the lead role of Pauline here – and does it well, but differently, coming across a little more rational than the darker display that Annalynne McCord gives in the 2012 take. That’s quite a significant difference, but I feel as though both work just fine. Pauline's younger sister Grace lives with cystic fibrosis, which dominates much of the family's life, leaving Pauline feeling awkward and left out very often. Pauline has an obsession with surgery, which also bleeds into some very strange sexual dreams that inhabit her sleeping hours. And it's that obsession that leads her to a dark and dramatic conclusion to cure her sister once and for all...

As a short piece in its own right, it's very effective, and there are certainly areas where this feels like an advance on its longer incarnation. It has a slightly 'found footage' feel that works really effectively, and the soundtrack is also very good. It's another very strong lead performance, as previously mentioned, although some of the other acting displays around her don't match up to the feature-length version – Traci Lords in particular seems to be an advance on the mother in this take, and while Carly Hobson is serviceable as Grace the character itself just isn't as developed here. The hints of what Pauline has in mind throughout are subtly dropped, and the opening scene for me has a great impact and sets the tone for the whole piece. Where it feels like a slight downgrade is in the dream sequences, which are realised with a strange golden quality rather than the clean, clinical look of the movie – in my mind it just better suits the milieu of Excision.

Without knowing the story, it's hard to know exactly why Ferrer didn't get the role in the feature-length – based on this I wouldn't have said that she needed replacing, although Annalynne McCord's performance has plenty of merit too. There may have been any number of reasons for that, but you wonder how different things could have been. I don't think it's a matter of McCord having more name value – she had some credits, but nothing much to give her a serious star power to amplify the movie's visibility.

If you liked the original, this is well worth a look as an item of curiosity. However if you want to get what I would consider the true experience of this story I would suggest the feature film, ultimately because it explores things more deeply and gives more basis and more gravitas to what is definitely an interesting story.

RATING: 8/10. Lots to enjoy here, and a really intriguing, truncated version of what is a story I've always loved – it remains one of my favourite horror features of all time, and this is very good without quite reaching those same heights here. There is plenty that is as good, even a handful of things that might be a touch better, but enough that seems a downgrade to rate this a bit less highly than its extended cousin. So 8/10 seems like a very fair rating for this one all told.

Dirs. Jill Gevargizian, Christopher G Moore, Andy Stewart, USA, 71 mins

A lot of extreme horror viewers, like myself, are very much drawn to or susceptible to being 'dared'. Many times I've gone out of my way to find the most disturbing and most extreme movies I can, and many of them in their language imply that 'you shouldn't watch it', or 'you can't handle i't. To which many will invariably say 'bring it on' and tune in not despite of it, but because of it. So when you float a title like Watch if You Dare there's no doubt that you're trying to attract those kind of viewers. And attract me it did, with not only the title but its promise of being one of the most disturbing films of the year. That's certainly fighting talk – but does this one deliver?

Watch if You Dare is constructed of four short horror films. I hesitate to call it a portmanteau because there's very little to actually tie the films together – the segues are fairly generic horror shots, and we don't have any sort of host or framing device to make it feel coherent. With that said, this one isn't terrible, it just isn't awesome either.

We kick off with The Stylist, which funnily enough we have previously reviewed here and rather enjoyed (you can check out the original piece here if you'd like to take a look). It remains a fine short film, and if anything I feel as though I enjoyed it more this second time around – the ending felt as though it had more impact, and while there remains not a huge amount of substance it's got style and ambition, both of which are things I like. I was really pleased to see that director Jill Gevargizian has just conducted a successful Kickstarter for a feature film of this one, so it'll be fascinating to see how this one plays out in the extended format. I feel as though it'll give some more scope to explore the background and character, which should add plenty.

Following that is Ink, a dark and bleak little British piece following a serial killer who targets people with tattoos, determined to take the ink of their skin and stitch it onto his own. There are some grim scenes, and something to like about the idea, but it doesn't really feel very conclusive. There's simply not enough character motivation here – why can the character not just get a tattoo done himself? – and in the end it's just a bit slight despite the good gore effects on display.

Then comes The Foodies, which follows a chef and a restaurateur who are invited to a special evening called Kitchen X. At this event they're joined by wine connoisseurs, food bloggers, specialist butchers and more besides. Of course it's not long before things go distinctly south, and I'd love to tell you it's startling original but it's really not. It has a few funny moments, but ultimately it looks pretty cheaply made – there's some terrible ADR as well – and with this running the longest of the four pieces it does feel like it holds things down a little.

The final piece of the quarter – Knob Goblins – is the shortest of the four, and it's hard to say a huge amount about it really. The title probably tells you most of what is going to happen, and even as a gag that doesn't run for that long it still misses the mark.

RATING: 4/10. Rating this sort of movie is not always easy, because it's sort of a matter of rating each individually and then coming up with something that seems to epitomise it as an overall experience. I think it's held back somewhat by the lack of a linking device, making it feel more like a random short film showcase than a complete entity. I think one of the other problems is the ordering – it feels like you start off with the strongest piece, then it's all gradually downhill towards the end, leaving a slightly unsatisfying feeling. Maybe with a different running order it could have been a 5, but as it stands 4/10 feels about right.

It's one of those great little pleasures in life when a film lands in your inbox, and rarely moreso than when that film happens to be the new movie from Kasper Juhl. His slice of extreme arthouse, Your Flesh, Your Curse, remains one of my favourite films of recent times (although it is still a deeply hard watch), so when Manebrand arrived I was pretty excited. No doubts that a film like YF,YC would be a hard act to follow, but I was heartily intrigued to see what this director would offer up in this more recent offering.

Manebrand is a very different sort of movie, following the disturbed life of siblings Valdemar and Alex. They seem to have next to no responsibility and spend most of their life drinking, partying and taking drugs, as well as throughout most of the movie seeming to share a strange, almost sexual tension between them. The two of them go so far as to hire prostitutes together before verbally and physically abusing them in a couple of distinctly uncomfortable scenes. However this dark, cyclical existence is broken when Valdemar starts to date Rebekah, with Alex's jealousy and desire for her brother's girlfriend twisting things in a darker direction than ever before.
 
This one feels like more of a very bleak drama than a horror movie, but there are certainly lots of moments that are unpleasant and distinctive enough to leave an impression. However this one for me is messy in the narrrative sense, and doesn't really move forward in much of a linear fashion. You could level the same at Your Flesh, Your Curse, but that sort of bizarre dreamscape was better suited to that non-traditional structure. The performances are certainly committed, and contribute to a handful of powerful moments, and Juhl's skills as a director remain beyond doubt.

The other thing that holds this one back for me is that I didn't really feel as though the characters are as well-developed as they could be – it's apparent from frame one that the pair of them are pretty messed up, but there's never really much to ever explain why. The opening text seems to give a hint, but it's never really backed up throughout the film, so the actions and interactions feel as though they are somehow lacking the background needed to really make the maximum impact. There are one or two scenes that feel a little out of place, and never get fully explained throughout the duration of the movie.
 
I wouldn't call this one a mis-step, and it's possible my expectations of the director are a bit too high after some previous offerings. It's a good solid effort, but it also leaves a sense that there could have been something better here that slightly got left behind – with more solid backdrop and character development this could have been absolutely stunning, but as it is it falls into good rather than anything above that.

RATING: 7/10. Kasper Juhl certainly remains a director to watch, and continues to purvey a brutal, dark and impactful style in his movies. This one has flashes of great stuff, but the message is somewhat muddled in a confusing, sometimes meandering narrative and some broad character development. It's certainly worth a look for those that like their drama very harsh and abrasive, but there needed to be a little something more to this one to really reach the absolute heights Juhl has achieved before.

Japan never seems to fail you for something interesting where it comes to horror cinema – sure, there’s plenty of good and bad within that, but very rarely do I come away thinking I’ve seen nothing noteworthy, or at the least nothing will stick with me. Even the worst of the wave of splatter cinema from the country produced memorable images if little else…

Which brings us to Suicide Club, which is probably the film I’ve been meaning to get around to the longest of all the films on the long, long ‘to watch’ list. I’ve been aware of this one for the better part of a decade, so it’s almost inexplicable it should have taken this long to actually put this one on. Sion Sono’s 2001 film certainly has a cult reputation, so let’s find out if that’s warranted.

Suicide Club follows a number of threads, but centres on a trio of police officers who are brought in after the event of a truly unforgettable opening scene, where a large group of schoolchildren meet at a train station, link hands, count to three and fling themselves in front of a train. It’s an iconic moment, and deservedly so – as a viewer it’s an absolute slap in the face to pay attention to what is going on. When officers Kuroda, Shibusawa and Murata come to investigate initially, they’re not even sure a crime has been committed at all – but as reports of more and more young people committing suicide come in, and a strange website seems to be predicting the number of deaths, they come to realise there’s much more to the spate of suicides than they could have imagined. Alongside that runs the story of a young hacker who finds herself inextricably caught up in this strange case, although it’s not immediately apparently which side of the law she is on as pertains to the growing batch of deaths…

For me, Suicide Club is a movie that sets out to say something about the disconnect between the younger generation and the older generation, and in that way packs even more of a wallop today – in a world where kids and teenagers can seemingly live an entirely second life online, the film is perhaps even more prescient today than it was on its release. It speaks to fads and trends, but with such darkness and such bleakness that it never becomes vapid, remaining compelling from start to finish. It never seeks to demean or lessen the young characters within it, nor criticize their elders, making it an even more complex film morally and emotionally.

Interestingly, it’s also a movie that offers up very few simple answers – there are plenty of hints and intimations, but a large chunk is left up to the viewer, something that I personally consider to be a strength of the movie. The performances from all the leads are very strong, and the plotline keeps you guessing all the way through. You could potentially take numerous different things out of it, and the finale only adds to that sense of fascinating ambiguity. Having at last got around to watching this one for a first time, I doubt it’ll take me anywhere near as long to come to a second viewing…

RATING: 9/10. A really fascinating movie, and one that wasn’t what I had expected from the get-go, nor did it ever settle quite long enough on any one thing to be what I expected at any given moment. It’s a shapeshifter of a movie, blending the tautness of a police drama with hints of the otherworldly and a splash of the malaise of teen culture, creating a concoction that looks a little like a lot of things but doesn’t fully resemble anything else. As such, it’s something that I could absolutely understand not appealing to everyone – there’s very little neat and tidy, and if you prefer it that way it sounds as though you might be better off tackling the manga of the same name. With all that said, if you like your films twisty, surprising and often shocking, Suicide Club is a cult you really ought to be joining…