Premises don't come either more outlandish or extreme than "Samurai Avenger: The Blind Wolf" writer & director Kurando Mitsutake's far-fetched, gruesome, but riveting revenge thriller "Gun Woman" with Japanese actress Asami as the eponymous heroine. For the record, Asami is the same actress who appeared in all five installments of the "Rape Zombie: Lust of the Dead" series. Although it isn't a ten-star masterpiece, there is more going on in this absurd but satisfying epic about an insane doctor who exacts vengeance on the deranged killer who murdered of his wife in cold blood.
The Mastermind (Kairi Narita of "Into the Sun") is a brilliant surgeon with an uncanny ability to erase knife wounds. After the exiled son of Hamazaki (Noriaki Kamata of "Samurai Avenger: The Blind Wolf") rapes and kills the Mastermind's wife, snapping her neck in a fit of glee, he kicks the poor doctor nearly to death, breaks one of the guy's legs, and then-the ultimate indignity-urinates on him! Nevertheless, he lets the poor slob live! This psycho villain surrounds himself day and night by a goon squad of bodyguards, and he indulges in the most heinous kind of pleasure know to mankind-necrophilia. The revenge driven Mastermind learns Hamazaki's son visits a remote place known as "the room" where he can screw the dead. The site is maintained by some weirdos who thoroughly check out the corpses as well as the customers before they allow them on the premises. This is the only place where Hamazaki's son can venture into without being under the vigilant eyes of his army of bodyguards. This off-the-grid place provides guards of their own. As it turns out, the Mastermind bribes one of the employees who verifies the dead are really defunct. Next, the Mastermind buys a drug addict, Mayumi (Asami of "The Machine Girl"), from human traffickers and rehabilitates her so she is no longer a meth addict. Redemption saves the day?
Afterward, she learns how to dismantle an automatic pistol, reassemble it, and then empty a magazine of 13 cartridges into a target in under 20 seconds! As he explains to Mayumi, she will masquerade as a corpse in the room. Since the naked bodies are inspected before they are brought into the site, the Mastermind gives her an injection of a drug that will make her appear lifeless. Meantime, he surgically implants the two main parts of a 9mm automatic pistol in her breast and abdomen with the clip stuffed presumably in her vagina. Basically, she smuggles her gun inside her body since she has no other way to take it into the facility. Before our heroine embarks on this outrageous mission, she watches as the Mastermind murders another girl as a demonstration to show Mayumi that once she has extracted the firearm from her body, she has 25 minutes to carry out the execution of Hamazaki's lunatic son. After the 25 minutes elapses, she may die from loss of blood. Naturally, nothing in life is a picnic. Our death-defying heroine makes it into the facility and recovers from the effects of the drug which enables her to play possum, she tangles with a brawny guard. Although the guards and employees have weapons, these weapons have been modified so that only they can discharge them. Our heroine must kill three of these guards before she can get a crack at the heinously demented son. Mitsutake frames the story with another story about an assassin-a bespectacled, mustached American (Matthew Floyd Miller of "Stan the Man") who shoots a woman twice in the head while she is taking a shower-and then is driven to an extraction point in Las Vegas by a contract wheel man (Dean Simone of "Dumb Money") who discuss the bizarre death of Hamazaki's son while they cruise from Los Angeles to Sin City.
Predictably, "Gun Woman" wallows in nudity, blood, gore, and violence. Nevertheless, writer & director Kurando Mitsutake has designed it strictly as a soft-core porno potboiler. The pay-off from the book-ends of the framing story set up is terrific. Now, the acting is nothing that the Oscars would recognize, but "Gun Woman" will hold your attention throughout its 85 minutes, and Mitsutake never deviates from the main plot or squanders a second of screen time. Not for the squeamish, this imaginative but graphic shoot'em up gives new meaning to carrying concealed weapons.
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