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Plot: alien lifeform rids the Earth of politicians, lawyers, lobbyists, and corporatists.

Everybody’s favorite delusional Las Vegas Christian geek green-Marxist is back, and he’s now more unhinged and volatile than ever! Neil’s done playing nice. No more warnings, no more second chances. Our favorite “visionary” filmmaker of “controversial” and “thought-provoking” cinema refuses to compromise, to negotiate, to mediate. Breen gave humanity a fair and final warning in Double Down (2005), and a last second chance in I Am Here…. Now (2009). Neil’s a man of action and a proponent of denim. In Pass Thru he steps up his game by dressing exclusively in denim and advocating for the extermination of 300 million people, no less! This time around Neil has no time for the womanfolk, and Breen’s love interest is a complete nonentity. Pass Thru is fringe cinema at the utmost extreme. A barely coherent screed from a director who has clearly lost all touch with reality and probably most of his marbles…

Pass Thru is not your average Neil Breen film. No. It’s a greatest hits of sorts and a partial remake of both Double Down (2005) and I Am Here…. Now (2009). It kinda-sorta-but-not-really is a Breen take on the Robert Wise science-fiction classic The Day the Earth Stood Still (1951). Like Breen’s 2009 feature Pass Thru is drenched in intentionally opaque Native American and New Age mysticism. Of course it’s full of Neil’s patented blunt force symbolism, and it’s historic for being the first of two Breen features produced during the Trump presidency the second being Twisted Pair (2018). Times, presidents, and political climates may change – but that doesn’t mean that old Neil does. The surge in anti-intellectualism, fundamentalist religious fervor and - persecution, as well as the untethered bigotry and corruption that has pervaded every branch of government was unprecedented at this point in recent history. Never has Breen’s message sounded more socially relevant than it did here. If there’s ever a frightening prospect, it’s Breen resonating with the times….

In the Nevada desert somewhere near the Mexican border callous human traffickers have established a make-shift commune where they hide their captives. One day a heroin-addict (Neil Breen) shoots up and passes out. Around the same time Amanda (Kathy Corpus) and her niece Kim (Chaize Macklin) manage to break out of captivity and come across the addict and his rundown, garbage-infested trailer. He offers the girls shelter for as long as they need. He calls himself Thgil (“light” spelled backwards, because Breen's messiah complex and celestial pretensions haven't lessened in the slightest) and claims to be an A.I. of superior intellect from the far future. Amanda initially puts no stock in what he says, but he shows telekinesis to substantiate his claims. Thgil can bend space, time, and matter to his will – and he has returned to this primitive earth to eliminate 300 million “bad” people. “The Cleanse,” he says, “has begun!” Thgil will first whet his genocidal appetites with the human traffickers and liberate the immigrant commune from bondage. From there he will move on to the actual scum and villainy that are corrupt politicians, lawyers, Wall Street brokers, CEOs, and press officials.

Meanwhile, a boy (Abraham Rodriguez) and a girl (Taylor Johnson) who share the common interest of music and astronomy have discovered alien activity. They have alerted their aging and ailing professor (James D. Smith) to their plans to travel deep into the Nevada desert to pinpoint the location. While that is happening Thgil uses his vast intellect to insinuate himself into high society cocktail parties where he erases presidents of banks (Adriane McLean), insurance (Brad Thomte), and media (Judy Thomas) out of existence. He then moves on to senators (Charles Updergrove) and corporate execs (Phil Graviet, and John Marchitti). He then overtakes an international press center by disintegrating its news anchors (Nicole Spitale, Steve Brito, and Audra Wilson) and delivers a condemning speech to the remaining survivors on Earth. Kim has gone missing leaving Amanda a quivering husk. Thgil finds Kim in a cave where she’s being threatened at gunpoint by a deranged veteran (Jason James). Thgil cures the veteran by simply saying, “You are now free… of PTSD.” As Thgil prepares to depart for his homeworld Amanda and Kim are shot by Amanda’s abusive ex-husband (Mike Kelly). He resurrects both and erases the perpetrator out of existence. Corruption has been ended, the guilty have been punished, and all is right with the world again…

Pass Thru comes a decade-plus after Double Down (2005) and old Neil has actually managed to get worse. Breen has always worked with a skeleton crew but this rings especially true for Pass Thru where he mans every position himself. To the surprise of absolutely nobody it looks terrible in every department. A few aerial drone shots notwithstanding Pass Thru looks worse than the short features that Alex Chandon shot on home-video some two decades earlier. Everything that doesn’t feature Breen flying solo feels underrehearsed, hastily staged, and come across as needlessly messy. A lot feels and looks as if it was improvised on the fly. The camera work is shaky and uneven, and there isn’t a single good looking shot to be found anywhere. The editing, by Breen and John Mastrogiacomo, is probably some of the worst, even by his own very forgiving standards. Not every penny was on the screen, obviously. Oh, no. If there’s anything Neil’s known for it’s for elevating corner-cutting to an artform. There are discharged firearms, and explosions – but who needs pyrotechnics and weapon experts when you can superimpose cheap looking muzzle flashes and Windows 95 sprites? Why scout for locations that heighten the production value when you can just green-screen them? Why location scout at all? Just go into the Nevada desert and shoot to your heart’s content.

A Breen movie wouldn’t be complete without socio-political commentary, and Pass Thru primarily seems to be about immigration and the treatment of refugees. As with his other movies Neil’s an environmentalist and here he also pushes his agenda of sustainable, renewable energy and putting a stop to depleting Earth’s resources and destroying nature and biodioversity for shortsighted greed. Also worth noting is that Pass Thru marks the first time Neil choses for an ethnic minority love interest with Kathy Corpus. Not that she’s his typical lost Lenore, or that her romantic subplot is in any way developed or explored beyond its very, very basic contours. Even Breen’s romance with Joy Senn in I Am Here…. Now (2009) was written better. Apparently the romance with Jennifer Autry in Fateful Findings (2013) was a one-time thing. Amanda gets exactly one line (“We have to keep running! Your mother’s my sister. She was murdered. I swore to God I’d take care of you. You’re my niece. We have to keep running!”) that is supposed to pass for character development, and that’s it. Oh yeah, and then there’s that scene where Kathy throws a rock at Neil’s face. Priceless.

Speaking of Lohan School of Shaolin alumnus Kathy Corpus, a black belt in kung fu and tai chi. Kathy has a corpus to die for, and that corpus is a finely-toned weapon. Kathy’s an accomplished Las Vegas martial artist and stunt performer, and like Tara Macken she’s the kind of talent America has far too few of. Rene Perez would know what to do with her. Arrowstorm Entertainment would die to have someone like her. Hell, even Neil Johnson would put her to better use. Not Breen, though. No. All the master of traumatic arts allows poor Kathy to do is walk around aimlessly and shout her lines aggressively. The great majority of characters will never even be named – and none of them (not even the leads) will be given an arch. The B-plot features three kids, but only two of them are identified as “astronomers” in the credits with the third curiously missing. If the professor’s hospital room looks familiar that’s because it’s the same as in Fateful Findings (2013), the interiors for the other kids were probably the same house too. The medal-studded blue denim jacket from Double Down (2005) also makes an appearance. It’s entirely possible that the deranged war veteran is supposed to be a nod towards Aaron Brandt from Breen’s debut. Who knows? Surely a new cinematic low point has been reached when I Am Here…. Now (2009) and Fateful Findings (2013) can retroactively be considered the gold standard in all things Breen.

Suffice to say Pass Thru is stunningly bad. Not only from a technical standpoint, the writing is probably the most skeletal and thin it has ever been. You’d imagine that after ten years in the trenches Neil would pick up a book to better his craft, but no such thing seems to be the case. In 30 years Alex Chandon made a handful of shorts, and three full length features. Neil has made 5 movies in 10 years, and shows no apparent sign of improving on any front. Pass Thru actually manages to look worse than Alex Chandon’s rough-and-ready Chainsaw Scumfuck (1988). Why is Neil still filming on home video? Aren’t High-Definition and Red One (4k) cameras the de facto industry standard now? Neil has always been an auteur but Pass Thru is probably the most egregiously written of the bunch. The feeble and slim chance of Breen actually becoming better with time has been clearly refuted by this point. To see the comedy of errors known as Double Down (2005) was fun at first, but to see no progress over ten years later is something else. It makes you feel sorry for old Neil. Maybe he did lose his marbles making these no-budget paranormal epics in the blazing Nevada sun. Any way you slice it, Pass Thru is a cry for help. A mental health professional should review old Breen’s case. Right now.

Plot: Tokyo is threatened by the Panther Claw. Can Cutie Honey save the day?

The Far East has a long and storied history for being a haven for some of the strangest, wackiest cinematic outings of the past several decades. Whether they are the fantasy wuxia / martial arts romps from Hong Kong, the Philippines and its one-man industry Cirio H. Santiago, or the Thai jungle action flicks from Chalong Pakdeevijit. Japan has long delved into its classic literature and more recent manga and anime catalogue for features. While these adaptations were less commonplace in the sixties to eighties, they became the bread-and-butter for Japanese cinema from the nineties onward. Manga come in every possible form and variety and there’s no subject that the comics leave untouched. Whether they cater to a specific interest or aim themselves at a certain demographic the only unifying factor is that they are drawn entertainment. If proven successfull enough a manga might be turned into a television series or full length feature. One of these popular manga was Cutey Honey from 1972 that was translated to screen simply as Cutie Honey (キューティーハニー), a decidedly more sanitized iteration of the character.

Cutey Honey was dreamt up by Gô Nagai, a pioneer of ecchi and hentai manga in the late 1960s. Nagai was influenced by the work of Osamu Tezuka and after graduating from high school he worked as an assistant for Shôtarô Ishinomori. Nagai’s first brush with controversy happened in 1968 when his comic Harenchi Gakuen (Shameless High School) not only became a huge success and revolutioned the manga but instigated a round of book burning by the domestic conservative Parent/Teacher Associations. Gô Nagai quickly made a name for himself with his deranged, slightly perverse, humorous and sex-oriented parodies of popular sentai properties of the day. Among Nagai’s most enduring creations are not only Cutey Honey but also Legendary Panty Mask and Kekkō Kamen. At the very least Nagai was an equal opportunity offender as he came up with absurd characters like Testicle Boy. In 1972 Gô Nagai envisioned Cutey Honey as a parody to the super sentai shows Ultraman (1966 and 1972) from Tsuburaya Productions, Kamen Raidâ (1971) from Ishinomori Productions and Toei Company and Warrior of Love Rainbowman (1972) from Toho Company Ltd.. Cutey Honey was a manga series for the shōnen (teenage boys) that appeared in Weekly Shōnen Champion's 41st issue of 1973 where it ran until April 1974. When it was adapted into a TV series it was originally aimed at the shōjo (teenage girls) market, free of excessive violence and nudity, and more of a ploy to sell a line of changing Barbie dolls. However, the anime landed at the shōnen timeslot forcing Nagai and his producers to change it accordingly. The series was cancelled over its racy content but somehow ended up attracting a good portion of teenage girl fans. Compared to Nagai’s more outrageous creations Cutey Honey beams with indefatigable optimism and joie de vivre.

The first Cutey Honey anime series aired in 1973 and has since been recognized as an early form of and the foremost precursor to the mahō shōjo (魔法少女) subgenre. Since her conception in the early seventies Cutey Honey has been adapted for the big – and small screen several times in the form of animated series, a live action series and several big screen adaptations. Suffice to say, while Legendary Panty Mask and Kekkô Kamen were brought to big screen too, Cutey Honey is by far Nagai’s most enduring and recognizable creation. There would be no Sailor Moon (1991-1997) without Cutey Honey. Cutey Honey is fantasy fuel taken to ridiculous extremes (without the overt sleaze of, say, Kekkō Kamen) and she has been an inspiration to cosplayers and otaku since 1972. Her sheer insanity makes the Italian fumetti photo comics from the sixties look relatively sane in comparison.

Move over Argoman (1967). Step aside Infra-Man (1975). Make way Lady Battle Cop (1990). Here comes Cutie Honey, the hot bod sentai bot in figure-fitting neon pink spandex complete with strategically placed heart-sharped boobwindow for maximum cleavage. The Warrior Of Love who can defeat any enemy with the candy-colored super-powers emanating from her chest and ass – and when those prove not powerful enough she wields a mighty sword to boot! The combined fevered imaginations of Luigi Cozzi and Jing Wong couldn’t possibly conceive something this unabashedly fetishistic and objectifying. It makes Valerie Leon in whatever little she was wearing in Zeta One (1969) and Caroline Munro and her space bikini in StarCrash (1979) look positively measured in comparison. "Crazy” is too mild a term to describe how deliciously over-the-top Cutie Honey truly is.

Honey Kisaragi (Eriko Satô) is a life-like android driven by nano-technology made as a mirror image to her professor father’s long-lost daughter. To hide her nature as a simulacrum Honey has adopted a good-natured, ditzy, giggly teenage girl façade. Now that she has come of age Honey is not exactly what you call upwardly mobile but she somehow has managed to secure work as an office temp at Tachibana Trading Corporation. She’s habitually late, spends her days wondering what it is that everybody does at the office, and kills the hours bringing everybody tea. She contemplates the merits of taking a bubble bath, drinking sparkly wine, and lounging around her apartment in lingerie. One day her uncle Utsugi (Masaki Kyomoto) is kidnapped by Gold Claw (Hairi Katagiri) and Tokyo (and, by extent, the world) is threatened by the dangers of the Panther Claw, a host of interdimensional baddies led by the fiendish Sister Jill (Eisuke Sakai). Honey rushes to the streets (in nothing but her lingerie, because of course) chomping down as much onigiri (rice balls) and green tea as she possibly can. She must load her powers, you know?

Once fully charged Honey activates her Imaginary Induction System, or I-System, by pressing the pink heart-shaped button on her choker and saying “HONEY FLASH!” This transforms her into the neon-pink spandexed Warrior Of Love, a hyperkinetic kawaii superheroine wielding the deepest of cleavage and the sharpest of swords! As the Panther Claw descends upon Tokyo law enforcement desperately tries to contain the situation. When police officer Natsuko Aki (Mikako Ichikawa) arrives on the scene with her assistants Todoroki (Ryo Kase) and Goki (Ryo Iwamatsu) she realizes that she got more than she ever bargained for. The strange going-ons attract the attention of photojournalist Seiji Hayami (Jun Murakami). Finding herself chased by both Natsuko Aki and Seiji Hayami, Cutie Honey befriends the former in civilian form and vies for the attentions of the latter. As the villain’s drill-shaped lair emerges from underneath the Tokyo Tower, Cutie Honey engages Black Claw (Mitsuhiro Oikawa), Cobalt Claw (Sie Kohinata) and Scarlet Claw (Mayumi Shintani) in battle. Will Cutie Honey’s unwavering optimism, love, and cleavage be enough to repel the evils of Sister Jill?

Embodying Cutie Honey (quite literally, really) in this incarnation is Eriko Satō (佐藤 江梨子). Satō initially rose to fame as a gravure idol under the alias Satoeri and later became a very popular and much in-demand swimsuit model. She appeared semi-nude on and in the June 24, 2003 issue of Frau. That was closely followed by a photo shoot and 15-second television commercial for Takano Yuri Beauty Clinic with J-pop singer Gackt (then again in 2006) and consolidated her success by releasing a popular calendar in 2004. In those times before Haruka Ayase she was the ideal candidate to play Cutie Honey. For those of whom Satō is a bit much there’s model-turned-actress Mikako Ichikawa (市川 実日子). The other cast includes popular urban/r&b singer Kumi Koda and television actress Mihoko Abukawa (appearing both as Tachibana company office workers) as well as Jun Murakami.

Appearing in small cameos are series creator Gô Nagai (a taxi driver whose vehicle Cutie Honey crashes into, conveniently ass first) and director Hideaki Anno (as an office worker). Adapting Cutie Honey for the big screen was animator, director, and actor Hideaki Anno, best known for his anime series Nadia: the Secret Of Blue Water (1990), Neon Genesis Evangelion (1995-1996) and, more recently, the AYTIWS approved Shin Godzilla (2016) (which also starred Mikako Ichikawa). Who better to helm a tokusatsu sentai spoof than a master of the genre? Calling Anno the Hayao Miyazaki of his corner of anime wouldn’t be too far off. Hideaki’s post-project depressions are the things of legend, yet for some reason it’s difficult to fathom how anybody could be depressed after making Cutie Honey. Withdrawal, perhaps? One of the great feats of the Gô Nagai manga was that it catered to everybody’s tastes. For obvious reasons much of the situational nudity is, understandably, absent here.

And what’s not to love about a superheroine with powers concentrated in her chest and ass? The pastel pink-white-blue production design and monsters are crazier than StarCrash (1979) and Infra-Man (1975) combined and the wardrobe is some of the most deranged this side of Bitto Albertini’s Escape From Galaxy 3 (1981). Cutie Honey is a candy-colored phantasmagoria of various shades of insane, and unabashedly fetishistic in its reliance on cleavage – and pantyshots. Anno relishes putting Eriko Satô in the tiniest of lingerie and takes great pleasure in ogling her from just about every flattering angle and compromising position possible. The score is a schizophrenic mix between 1970s groovy Eurospy funk and J-pop and the special effects work is decidedly old-fashioned and campy. The Panther Claw minions look like the goons from the action-comedy Black Mask (1996). What’s not to like about a super heroine that takes time out of her busy day saving the world to spent a night on the town with her best friend only to end up badly singing karaoke in a drunken stupor? Cutie Honey makes Argoman (1967) and Infra-Man (1975) look like sophisticated works. It’s just as unbelievably shallow and silly as the manga and anime it was inspired by. That Cutie Honey just was a tad inspired by Forrest J. Ackerman’s equally zany Vampirella and its 1996 big screen adaptation (which wasn’t really all that big) should surprise no one.

Cutie Honey is uniquely Japanese in its brazen insanity and singular commitment to lifting the spirit. Only the Japanese are able to dial up the crazy farther than the Italians and Chinese in their heyday. Cutie Honey is crazier than the prime works of both Luigi Cozzi and Jing Wong, combined. It was followed by an anime series called New Cutie Honey (1994) and a few years later Toei Animation continued with Cutie Honey Flash (1997). In the new millennium there was Re: Cutie Honey (2004) and a shortlived live action series called Cutie Honey: the Live (2007) that saw Mikie Hara (原 幹恵) taking up the mantle as Honey Kisaragi on national television. A sequel (or rather more of a soft reboot) would only materialize some twelve years later. Cutie Honey: Tears (2016) went for a more serious direction and a darker, edgier tone that took more after Fritz Lang’s Metropolis (1927) and Christopher Nolan’s The Dark Knight trilogy (2005-2012). The long awaited sequel saw former gravure model Mariya Nishiuchi (西内 まりや) taking on Satô’s role and donning the famous pink bustier (one far more practical and not nearly as tacky/revealing). Two years later a new anime series followed with Cutie Honey Universe (2018). In the years since no new plans for a Cutie Honey sequel (or reboot) were announced. Regardless, there’s a time and place for adorable camp like this and Cutie Honey offers a copious helping of just that.