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As the virus rages across Japan, the group of women trying to fight off the rampaging hordes of raping male zombies learns that a robotic protector has found a manner of stopping the virus altogether by traveling to the past in order to prevent it from being unleashed to begin with. This was another wildly fun if somewhat flawed entry in the series. Most of what makes this one so much fun is the continuation of the wild exploitation excess usually featured so far in the franchise. This one wastes no time in extrapolating nudity here which is ably supplied by the performers here, with the opening sword-fight between the clones and the evil robot involving the two combatants slicing each other’s clothing to the point of exposing themselves while one of the clones manages to get disrobed for the entire fight. As well, there are numerous scenes of them stripping down or disrobing for inspections or rub-downs from everyone else, and the continuous softcore groping that pops up throughout here is both insanely sensual as well as significantly enhances the sleazy aspect of the story. That’s before it takes into account the scenes of the women being raped where they get disrobed and touched all over as the very nature of these scenes adds more to the sleaze. Lost Records: Bloom & Rage

The opening fight with the clones is rather fun, and the later scenes showing the two friends in the abandoned building overrun by the creatures has several stellar confrontations throughout the building and out onto the roof to provide some thrilling battles. The other solid plus in here is the continuation of the strong storyline present throughout the series, which manages to include the method of unleashing the virus in the first place and managing to carry on from the events established before. Still, even with these positives, there are a couple issues with this one. The biggest problem apparent here is the film’s pacing, which is exceptionally troublesome with some segments coming together seemingly only to pad out the running time. The scenes with the talking head, in particular, are rather problematic, taking up a large part of the beginning here to detail nothing more than the history of perversion in their society that caused the whole epidemic. There’s little reason we need to be stuck here as long as we are looking at a talking head with tubes sticking out of its neck describing this when it could’ve made the whole point in a fraction of the time.

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