Jigoku is loosely inspired by the 1960 classic Jigoku by Nobuo Nakagawa. The film's depiction of hell is undoubtedly its strongest aspect, showcasing imaginative and well-executed visuals that are both haunting and mesmerizing. However, the overall pacing and narrative structure leave something to be desired.

Strengths: Unforgettable Visuals of Hell The film's portrayal of hell is truly a sight to behold. Kumashiro's vision is a nightmarish realm filled with grotesque imagery, surreal landscapes, and unspeakable tortures. From twisted and contorted souls trapped in eternal agony to bizarre and unsettling creatures that inhabit this infernal domain, the visuals are both captivating and disturbing.

The practical effects and set designs are impressive, especially considering the film's age and relatively low budget. The attention to detail in creating this hellish world is commendable, and viewers can easily get lost in the sheer creativity and imagination on display.

Weaknesses: Sluggish Pacing and Disjointed Narrative Unfortunately, the film's strengths in the visual department are somewhat undermined by its sluggish pacing and disjointed narrative. The first half of the film, which focuses on the earthly lives of the characters, feels unnecessarily drawn out and lacking in momentum.

The transitions between different storylines and characters can be jarring, making it difficult to fully invest in any particular narrative thread. Additionally, the film's overall message and themes can be muddled at times, leaving the viewer to piece together the underlying commentary on sin, guilt, and redemption.

Adulterous Miho (Mieko Harada), pregnant by her lover Ryuzo (Ken Nishida), is killed by her husband Unpei (Kunie Tanaka), but gives birth to daughter Aki shortly after dying. Aki, unwanted by her family, is sent to an orphanage and replaced by another child, Kumi.

Twenty years later, Aki (also played by Harada) returns to the village where she was born and unwittingly acts as an instrument of vengeance for her mother, who is suffering in Hell for her sins.

I wasn't a big fan of the 1960 film Jigoku, which I felt was overlong and extremely tedious, the only good thing about it being its gory depictions of punishments in Hell during the final act. This 1979 loose retelling from Toei is even longer (by about half an hour) and its vision of hell less impressive, making the film even more of an endurance test. The only real positive about the film is Mieko Harada, who is extremely attractive and takes her clothes off a fair bit: it's not hard to see how she could lure most men to their death.

3.5/10, rounded up to 4 for the people-grinding machine, Miho impaling her hands and feet on spikes, and the funny flesh-eating bugs.