One Cut of the Dead Spin-Off: In Hollywood

A brave idea - make a terrible version of the original as a 'Goes Wrong Show' style comedy sequel. If you can brave the opening 20 minutes and get past the first credits then the movie itself is pretty decent, if under-written and lacking in flesh.

For the 60 minutes run-time you get a reasonable attempt at a cake, but unlike the original the layers are not as rich or satisfying, and I suspect many casual viewers last 10-15 mins before moving on. This said - as a package on the blu-ray with the original it makes a suitable desert course and a lovely companion piece and this raises my rating to that of something for even casual fans.

Metamovies have moved on a little since this, but as an attempt to pastiche cash-in movies on successful Indy hits it works well enough, although a little tighter script and characterisation would have made the last 20 mins all the more satisfying. Probably not worth upgrading to the Blu-Ray version that includes this - but good enough that you should aim to buy the complete version of the movie that has this on the disk if you didn't already own it.

I'm a big fan of Ueda Shin'ichiro's 2017 film. I didn't know what I was getting into when I sat to watch, and the swerve from fun zombie flick to wonderfully clever and funny comedy was an absolute joy. Just as much to the point, the high energy and enthusiasm that everyone carried with them in the project was palpable, and these informed the earnest hard work and care that brought the title to fruition. Be that as it may, the very nature of sequels instilled some doubt about this follow-up; could Ueda, and the same cast and crew, recapture the magic of two years before?

It seems silly now, but I freely admit that it's been a while since I watched 'One cut of the dead' - long enough that it's no longer fresh in my mind - and stepping into 'In Hollywood' I was taken aback by the opening sequence. Anyone who was approaching Ueda's projects with fresh eyes undoubtedly would be, too, for at the outset the writing, direction, acting, cinematography, and fundamental production values are of the lowest quality, plainly resembling not schlocky B-movies but outright amateur film-making, and not the best representation of even that. The outward parodying of the United States, and of Hollywood-style horror film-making, goes so hard that it becomes comes full circle and becomes that which it is targeting. If nothing else is true, then apart from the additional casting of a couple American actors, this is one of the biggest disparities with the previous feature, as the prior opening came off remarkably well all on its own, and that's not really the case here.

But of course I should have known better. Ueda is no slouch, and while I don't think it's entirely the case that the team has fully caught lightning in a bottle for a second time, this picture is absolutely cut from the same cloth as its predecessor. Once the turn comes and the presentation shifts from deliberate low-grade romp to pure cheeky frivolity, the result is marvelously funny, and that opening sequence is definitely, inherently cast in a new, resplendent light. The same outstanding wit that made the 2017 release so entertaining and rewarding is alive and well in this television successor: reveling in the chaos, camaraderie, and creativity of film production while taking sidelong jovial potshots at the executives who greenlight and oversee such affairs, and even weaving in a smidgen of story, too. All told the self-declared spin-off may not be as striking as the progenitor, but that's no specific fault of its own and more an illustration the risk that is run with playing in the same territory.

The cast are just as admirably committed to the reverie, bringing the same electricity with them, and from production design and art direction, to stunts and effects, to costume design, hair, and makeup, everything is impeccably flavored to taste. Ueda's writing is again low-key ingenious; as Nakaizumi Yuya takes over directorial duties this time around, the execution is for all intents and purposes just as effective, at once shrewdly free-wheeling in the vibes that are sustained but tight and precise with regards to the exact orchestration of each shot and scene. With adept original music bolstering the proceedings at all times, when all is said and done I have nothing but praise for this film. The initial roughness is a conscious choice in keeping with the overall tenor, flowing along the same riverbed as 'One cut of the dead,' and like works in other genres and styles that develop in their own time, ultimately the doing here is altogether terrific. While it won't appeal to all, by the same token I feel sorry for anyone who checks it out and totally misses what the movie is doing. I had a blast with 'In Hollywood,' and I can only give it my hearty and enthusiastic recommendation!

While I was not particularly impressed with director Shin'ichirô Ueda's 2017 movie "Kamera O Tomeru Na!" (aka "One Cut of the Dead"), then I had to sit down and watch the 2019 sequel, as I happened to stumble upon it by random chance here in 2024. I actually didn't know that there was a sequel here, to be bluntly honest.

The runtime of the sequel "Kamera O Tomeru Na! Supin-Ofu: Hariuddo Daisakusen!" (aka "One Cut of the Dead Spin-Off: In Hollywood") was surprisingly short, running at a mere 56 minutes, whereas the 2017 movie "Kamera O Tomeru Na!" ran for 96 minutes. Already there, I was doubting that I would be in for anything good here with the sequel.

However, I opted to keep a positive and open mind and opted to give director Yûya Nakaizumi the benefit of the doubt.

I noticed that Shin'ichirô Ueda, whom directed the first movie, was actually the writer for the sequel. So I guess that had to count for something in terms of continuity, or something.

The storyline in the movie was simplistic, just as it was in the first movie. So you're no in for anything grand here. In fact, the narrative in this sequel was a bit weaker than it was in the first movie, which means that you're not in for an evening of Shakespearian theater here.

Suffice to say that I wasn't familiar with a single actor or actress on the cast list. But I can honestly say that I wasn't impressed with what I witnessed on the screen in terms of the acting performances and the fake blonde wigs.

Right, well "Kamera O Tomeru Na! Supin-Ofu: Hariuddo Daisakusen!" was supposed to take place in Hollywood? Yeah, not even a blind man would believe that the movie is filmed in Hollywood, much less actually taking place in Hollywood.

The effects in the movie are questionable, just as they were in the 2017 predecessing movie. But hey, if you liked the "Kamera O Tomeru Na!" movie, then you're in for a treat here, because director Yûya Nakaizumi carried on in the same style. The gun effects were hilariously bad, and the zombie make-up was so simplistic that I bet I could have made them myself.

"Kamera O Tomeru Na! Supin-Ofu: Hariuddo Daisakusen!" was every bit as boring, pointless and laughable as the 2017 "Kamera O Tomeru Na!" movie was. So I was definitely not entertained, nor did I enjoy sitting through the 56 minutes that the movie ran for.

My rating of "Kamera O Tomeru Na! Supin-Ofu: Hariuddo Daisakusen!" lands on a very generous three out of ten stars.

The appeal is basically gone now. This doesn't really bring anything new to the table. If you've seen the first one, this is a weaker rehash. Shorter, less effective and not as interesting.

5/10.