Hell has always been popular cinematic fodder. Italian strongman Maciste has conquered it (twice, at least), Claude Rains has managed it, and Nollywood has done its best to make a basement look like it (see Die Danger Die Die Kill’s review of 666: Beware! The End is At Hand). Still, when it comes to off-the-wall interpretations of the subject the countries of Asia have something of a monopoly. That all seems to have begun with the inimitable Nobuo Nakagawa (Tokaido Yotsuya Kaidan — reviewed on Teleport City here, and WtF-Film here), who persevered against a studio in a death spiral to produce Jigoku, an avant garde guignol masterpiece and perhaps the quintessential “hell” movie. Twenty years later acclaimed Nikkatsu roman porno director Tatsumi Kumashiro paid his respects to that film with The Inferno, a lavish Toei epic that matched Kumashiro’s own experimental flair with gobs of big studio production value.