Erotibot (2011)It's always a pleasure.
The majority of this movie is sitcom-like buffoonery of three distinctly characterised servant robots combined with a naïve girl of wealth discovering her sexuality and one of the aforementioned emotionally incompetent androids discovering love. There is an almost insignificant underlying story about a plot to obtain an inheritance that doesn't become relevant until the final scenes and seems like an easy way to conclude what could have been a spineless softcore love story despite taking a similar amount of air time as the sappiness (or it could just be an excuse to show some blood covered ninja chick boobies).
Despite the terrible electricity effects, a minimal cast consisting of AV actresses and nobodies, the erratic story focus and the subtle notions of kiddie fiddlerness, the movie sort of works. The automatons are obviously people in masks with spare electronics glued to them but due to the budget of the film the makers were probably more interested in getting their point across rather than wowing the audience with special effects. The point that the movie was trying to imprint on the viewer is still a bit of a mystery but is basically a shallow skimming of a Philip K. Dick notion of the presence of emotions within advanced technology. Erotibot doesn't promise much and delivers exactly that with all the nonsensical charm that accompanies this type of film.
The innocence of the leading character with regards to sex is endearing and leads to some very interesting dialogue such as the intricacies of the polite amount of saliva to leave on a penis during fellatio. Such conversations are carried out with a complete lack of awkwardness as if such a conversation would be acceptable at the dinner table while quaffing wine with the parents. In fact Number One and the unfortunately named Number Two are like the perfect parents, best interests at heart without all the emotional bullshit, and Number 3 AKA Sukekiyo (pronounced: Skanky Ho) is the fuckwit third wheel but also the character that everybody is supposed to empathise with.
The brief gore saved for the end is quite extreme considering the rest of the tone of the film but unfortunately short-lived. The sexy ninjas (one of which is the increasingly popular Asami) are also quite arousing but once again quite obtrusive compared to the rest of the plot. Don't expect the full on craziness of the director Naoyuki Tomomatsu's previous works such as Vampire Girl vs Frankenstein Girl or Zombie Self-Defense Force but do expect the emotional awkwardness emoted by Stacy (but unfortunately no piles of schoolgirl zombie limbs).
Erotibot is short and this definitely works to its advantage as the inconsequentiality of the story would soon become mundane if dragged out. Despite the low body count this movie fits nicely into the recent wave of Japanese quirkiness that is rapidly overtaking the long-haired ghost genre, mostly for the seemingly bizarre outlook on life defining the culture of the East for the West.