“Tomie: Unlimited” introduces us to its titular antagonist, Tomie (Miu Nakamura) fatally impaled by a construction beam. A year later, her parents and younger sister Tsukiko (Moe Arai) who witnessed the mishap are still in mourning. Happiness enters the household once more on the eve of Tomie’s eighteenth birthday when she turns up at the doorstep, seemingly back from the dead with only a tell-tale scar on her neck. While her parents readily jump at this reunion and welcome daughter dearest with open arms, Tsukiko still has her doubts. She’s not wrong. What follows next is a gore-fest.
The eighth installment in a polarizing line-up of “Tomie” films (one of which served as the feature length debut of filmmaker Takashi Shimizu, of “Ju-On” fame), this Noboru Iguchi directorial resembles a cross between “Terminator,” “Species” and “Jennifer’s Body.” Unlike “Jennifer’s Body,” “Tomie: Unlimited“ is no feminist classic and neither is Tomie a feminist icon. It is instead a study on the mental instability of the aggrieved and an overwhelming moral dilemma which can push one over the edge, compelling them to harm or even kill a loved one. This is seen in instances of Tomie sadistically guilt tripping her entire family within seconds of her arrival, playing with already fragile emotions and continually keeping them under her thumb or literally wrapping them around her tendril-esque hair.
A Tragic Turn of Events in Store
Her grief-struck parents especially worry about losing her again, despite her not showing any traits of the Tomie they once knew, but of a malevolent and regenerative spirit with one hell of an attitude who feeds on their needs and attachment issues. They thus continue to appease and cater to her growing whims (ranging from Tomie manipulating her father to brutally whip Tsukiko for disrespecting her, and later to carry out insidious deeds to aid in her regeneration). Her parents are particularly more susceptible/vulnerable to her mind games, as prior to Tomie’s return, they were still struggling to put the pieces of their life back together, singing happy birthday to a photo of their deceased daughter and insisting that Tsukiko blow out the candles in her absence- foreshadowing a tragic turn of events in store as Tomie embarks on a cloning spree.
Favouritism is yet another topic that is explored, with Tsukiko sidelined even post her sister’s demise. Additionally, there is some queer subtext thrown in, particularly a brief liaison between Tsukiko and her classmate Yoshie when the latter is possessed/’Tomie-fied,‘ and Tomie’s French Kiss of Death that isn’t just relegated to male victims. The special effects are clunky but overall passable, and afford the movie an old school B-horror / grindhouse vibe.
Subtle Jump Scares Prove Scarier
Junji Ito’s bizarro cosmic entities from his manga are also brought to life to the big screen in all their guts and glory- Such as Tomie’s multiple surrealistic avatars—a giant head bobbing around like a blimp that stalks Tsukiko from room to room, as well as multiple heads joining to form a fearsome centipede-esque creature in its finale. Subtle jump scares of Tomie’s severed head blinking its eyes to reveal snakelike pupils proves scarier than any gross out moments in the movie.
Having finished watching the Thai horror romance “Inhuman Kiss” earlier, Tomie’s disembodied head with disembowelled anatomy still connected to it also harkened to the Thai lore of the Krasue, a female spirit with a similar physical appearance. As somebody who watched “Dumplings” and gory JiÄngshÄ« horror like “Rigor Mortis” recently, I’ve grown accustomed to all sorts of bodily fluids, viscera, et al splattering about or even the sentient tumorous mass with its own functioning anatomy that sprouts from Tomie’s neck wound. But none of the aforementioned repulsive visuals hold a candle to more disturbing and uncomfortable sights depicting incest, physical abuse and a Freudian scenario that involves Tsukiko walking in on her bewitched father as he ‘covets’ her sister’s silken locks a bit too much at the breakfast table (talk about an unhealthy attachment!)
Nakamura Shines in First Lead Role
With a forehead framed in bangs and a face akin to a porcelain doll, Miu Nakamura is easy on the eyes and convincing as the irresistible Tomie who casts a spell over her victims, luring them to a grisly fate. Considering this was her first major lead role in a feature film (with only modelling experience priorly), Nakamura is genuinely terrifying and simultaneously sultry with her body language, delivery and expressions. Her sinister giggle completes the performance. Moe Arai is impressive as the final girl, and her horrified reactions to all the absurdities unfolding around her, such as a nervous half smile just as the fear kicks in, feel authentic. She also perfectly captures the younger sibling’s growing envy towards Tomie and her handsome beau Toshio who runs a Judo club where Tsukiko lends a hand as a photographer (later resulting in an entanglement between the trio).
“Tomie: Unlimited” is a fever dream and one can watch it as just a bonkers movie for the Spooky Season or read too much into it (like I did). Either way, it is a twisted and trippy flick with nary a boring moment.
 *“Tomie: Unlimited” is available on Youtube.
