asian horror

Rape Zombie: Lust of the Dead (2012)



Let’s be right up front here: there is nothing lost in translation about the title of this movie.  It’s a rapefest, a rapestravaganza, if you will.  From director Naoyuki Tomomatsu, who also gave us the much better zombie flick Stacy (previously reviewed here on HH), we get a movie made to shock, entice and amuse.  Tomomatsu’s filmography transverses oddly between zombie horror and straight-up legitimate porno flicks; Rape Zombie seems to be an amalgamation of the two, with a heavy lean on the porn side of things.  Turn the lights down low, lock the door – and remember ladies, if he cums inside you, it’s all over.

Sweaty’s Stats


Good god, yes.  Tits and panty shots galore.  This is how I imagine a conversation on set might’ve gone:

Director: Why are these girls clothed?

PA: This is the dinner segment.  There’s no sex in this part of the script.

Director: (strokes chin) Can there not be tits in this scene?


Nah.  There’s some blood splatter, and off-camera dick removal, but nothing that’ll make you squirm.

Scare Factor

None, this one’s a comedy.  A sweet, rapealicious comedy.



The movie opens with a Japanese businessman, coming home tired from work, to find his wife defiantly hanging up the laundry instead of greeting him at the door with what I can only assume is the Japanese tentacle-laden equivalent of a martini, dinner and blowjob.  Since she’s clearly failed in her wifely duties, he does the only sensible thing and punches the clothes right off of her body.  Well as we all know, a man can’t control himself around tits, so he proceeds to rape the shit out of her, a mere two minutes into this film.  So far, so rape!

Suddenly a news broadcast cuts in: widespread rape is hitting the city!  A rape epidemic goin’ on!  That’s right.  The director found a way to mix his two great loves: mindless, undead monsters and the brutalization of shy, Japanese women.  Truly he is a visionary.

Now admittedly, the opening scene isn’t really funny.  The domestic violence rape is shot in a more serious tone.  However, by the time it gets to the newscast, the comedy aspect starts to take hold.  We get a few shots of some gang rape on the streets, which amounts to one guy nailing her from behind while two other guys stand nearby and … gesture wildly.  Seriously.  They flail about like they’re the goddamn enemies of the Power Rangers.



From here on out it’s seems pretty much like your standard zombie flick, albeit that the zombies lust for pussy over brains.  They still shamble, they still moan (well, in ecstasy), and one can still dispatch them by chopping off their heads.


Okay well … technically it’s the head and shaft.

Enter two girls: one meek (and half-naked); the other a sexy katana-wielding nurse, because Japanese cinematic law dictates that every hot chick is required to own at least one sword.  They hook up with another couple of stereotypes, an aproned house-mom and a tomboyish schoolgirl.  While the four shack up in a house to wait for the rapeocalypse to blow over, we get some unnecessary environmental message from the talking heads to explain away all the madness, because this is clearly the type of movie I would expect sociopolitical commentary from.


Next up, an allegory comparing the economic struggles of the working class to skullfucking.

Some boring, tit-less backstory commences, but thankfully doesn’t last long before careening this bus right back into rapetown.  We find out that Nurse and Meek Girl met in the crazy ward because Japan has an obsession with cutting and suicide, and so that makes Meek Girl the obligatory cutter of our film.  Fast forward to the poor little pantiless thing being fired by her boss for carving herself up on the job, wherein he proceeds to … yep you guessed it.


Your severance package includes two weeks of rape, plus an additional three days of unused vacation rape.

The nurse grabs the sword from the wall and severs the offending member mid-rape.  Now that they’re the best of friends, Katana Nurse and the Meek Girl (Momoko) escape the city.  Cut to the present where the nurse (Nozomi, we learn) and Momoko can’t hide their desires any longer.  Some awkward kissing leads to Nozomi fondly remembering the time she was gangraped, because all lesbians have a traumatic reason to hate men.  Regardless, some pretty good girl-on-girl follows, to a comically feminine harp music soundtrack.  It’s almost confusing how this movie manages to be hot and ridiculous at the same time.

Enter Otaku Guy to the party: a nerdy, anime-loving creepster seemingly unaffected by the Rape Virus.  He just “happens” to have some adorable female outfits that I’m sure aren’t soaked in cum, and proceeds to dress up our heroines as cartoon characters.


Otaku: single-handedly keeping the anime girl pillow industry in business.

It is here that we get another look into social politics, as we learn that the Zombie Rape Virus only affects assholes.


Get outta here.


Moe: Japan’s version of Brony, long before Bronies were on the fast-track to virginistic obscurity.

What follows is an amusing romp into a giggling female uprising against the male threat.  As the remaining, ovary-burdened military force begins to hand out weapons, the girls all celebrate as girls do: laughing, drinking, taking pictures and um … ritualistically eating sausages.  And of course, what tribute to feminism wouldn’t be complete without shooting guys in the dick?


Note to self: must find penis target loincloth for future escapades.

Back to our Fearsome Foursome, the ladies have discovered that Momoko is suddenly heavily pregnant and a standoff ensues over whether or not the baby is a zombie-baby.  Momoko thinks it’s a result of the lesbian encounter (?), Otaku guy thinks it’s an immaculate conception (??), and this movie just dives right of the fucking chasm.  And then Japan goes to war with North Korea, because why the fuck not.

Anyhoo, Best Korea is sick of Japan’s shit and drops a badly-animated nuke on the whole mess, but fear not, our heroines are in the countryside and safe from vaporization.  Meanwhile, in the first consensual sex in the film, Tomboy tries to seduce Otaku.  But by now you should know what happens when a man feels the desire for sex.  That’s right, poor Otaku succumbs to the oppressive male patriarchal rape virus culture.

The film ends up in a homage to Romero, like they all do.  Battening down the hatches of the shrine, the two remaining women attempt to fight off the nuclear, rapeloving zombie hoard.  As for the end?  I won’t give it away, but if the rest of the movie hasn’t been clue enough, it’s a little fucking out there.

Final Thoughts

I admit, I went into this movie a bit naïve.  Maybe there would only be some rape, I thought.  I really should’ve known better, from a country that brought us games like Battle Raper and Battle Raper 2.


Huh. Wonder why this never made it overseas.

The movie is shocking and weird for what it is, but it is by no means a great movie.  The makeup effects are boring, the camera work is jumpy and obnoxious in some parts.  In all honesty, it’s a little disappointing to see Tomomatsu go from Stacy to this.  Still, this movie has its charm and you can definitely see the director’s influence.  It’s hot as hell in parts and hilariously goofy at the same time.  It starts off a maladjusted teenage boy rape fantasy and evolves into a heavy-handed, feministic dick-destroying commentary, and from there a Christian rip-off of Children of Men.  I mean, what the fuck.  If that doesn’t sell it for ya, nothing will.

If you’re a person who can appreciate the weirdness of Japanese cinema, get yourself a handle and give this one a chance.  I will say that it does well as an Asian porno.  As a horror flick … eh, maybe not so much.  Nevertheless, it’s worth a watch in my book.

Sweaty’s Score: 7/10, mediocre, has its rapediculous moments


IMDB for this rapeflick

More creative uses of the word rape on my twitter

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