Pleasure Kill is immediately interesting as Sato's pink, decade-earlier treatment of the same story that would go on to be Splatter: Naked Blood. It is easy to view Pleasure Kill as kind of unnecessary now that we have Naked Blood: Pleasure Kill is shorter, flatter, simpler, and focuses more on sex than violence (if the two can be separated, which in Sato movies they really can't). But beyond what it doesn't do in comparison to Sato's most famous work, Pleasure…

"Gay people never talk about it in public, unless it's just cheap innuendo."

The film's thesis, if it has one, is stated near the 2/3 mark between the two main characters. "Because they shove it down our throats all the time, being straight. Straight story-lines on television, everywhere, in books, on billboards..." It doesn't take long consuming media while being gay before realizing that straight people - at least the ones making our media - don't care about us or…

"Do you often think about how inconsequential you are?"
"Yes."
"Do you believe God will save you?"
"No."

Above all else, Freddie is lonely.

I just finished watching the incredibly strange (both incomprehensible yet easy to follow) The Master, and that is the only thing of which I can be certain. It's easy to watch The Master and, like his followers, be compelled towards "the Master" himself (I will withhold the obvious Doctor Who jokes), Lancaster Dodd, as he is…