The Japs courageously stepped upon unstable ground and have managed to mold a market out of second-rate zombie films and low-budget J-horror films that have no elements of terror other than vanishing, stoic figures with jet black hair. In many pieces of eccentric Pan-Asian video experiments, the Japanese will also stroll through their native city limits, come across an electric guitar, pick it up and be instantly transformed into an egomaniacal slant-eyed badass with enough attitude to slick his hair into a quiff. This acute extension of pride has had many recent offenders? Detroit Metal City, Electric Dragon 80000v, the hit video game Gitaroo Man, and yours truly, Wild Zero.
In regards to the previous statement of instrument phallicism, Detroit Metal City hangs weight as a stark example. Soichi-san has dreams of creating Swedish pop music but upon his failing talent at such, he picks up an electric guitar and is transformed into the formidable Johannes Krauser II. Acoustic guitar: homosexual, Electric guitar: heterosexual badass - See the manifestation of transferring sexual orientation? It's all too clear to just be a stroke of accidental recurring themes in the midst of Asian rock. Their attempts to create an Eastern rockabilly fashion in Wild Zero is laughable at best and that's the kick that lies in the taste of this scintillating query of oddball antics that eventually spirals into sexual confusion as our "lovable" hero, Ace, who doesn't play guitar, turns into a homosexual by films end. Pushed to beliefs that "love knows no genders" by Guitar Wolf himself, Ace drops his own perception of targeted affection in order to snootily follow a beeline placed before him by a band of Japanese noise-punk musicians. Let it be known that I'd first eat my own shoe than take relationship advice from someone from Japan.
Apart from the amount of sheer complacency, Wild Zero soon matures into a prime piece of zombie cinema that had a rough start without the help of Guitar Wolf to even the ties. With Guitar Wolf's absence, Wild Zero would have been just another Tokyo Zombie. All play and no work makes zombie films sour to the core and in this statement I'd like to approve Wild Zero's cause of non-stop play to have something of a productive nature in building a semi-serious film - serious as in the way it was created, not marketed. Wild Zero is basically pure immature adrenaline in personified film form. With aliens, rock shows, and zombies, the odds were against Wild Zero for succeeding with so much inclination for the absurd and for the better, it did. To top off this piece of brilliantly sub-par cinema, a scene with a topless femme fatale is included, shower and all.
Wild Zero is the apotheosis of a hypothesis : an intellectually scarred vision of how modern Japanese absurdity should be confined into a single shell casing that features everything one could hope to achieve with the promise of "over the top." If you can manage to look past the homosexual force fed flair (trust me, I did,) then you might come out of this film in grand working condition. Don't let my stoicism get to your inner workings. I am merely a jaded cynic with a fiery temper to boot. Wild Zero offered me everything I needed to cool down and in the end I found this film to be an utmost necessity to the Japanese cult movement. Any tag line that reads "Jet rock 'n' roll" must boast a swift undercurrent of zany entertainment that can only be extinguished by the saddening (old) news that Bass Wolf died of natural causes in 2005.