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  • Awesome Music:
    • The third movie has a song from Nine Inch Nails over the ending credits. It is glorious. Director Tsukamoto stated that working with Trent Reznor made a dream come true for him. Considering "TD" from The Iron Man has a pretty similar guitar riff to NIN's song "Sin", the fit was indeed a natural one.
    • "Megatron" by Chu Ishikawa plays over the ending credits of the first movie. It is glorious.
      • And terrifying. Though technically "Megatron" itself is never played during the whole film. The track at the end is a remix called "MG" (the difference being that "MG" has a more cacophonous and clanging sound to it). It is, however, still glorious.
      • A less remembered track is "TD", the opening theme. Perfect way to set the mood for the film.
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  • Complete Monster: Yatsu, otherwise known as the Metal Fetishist, is the Overarching Villain of the entire trilogy and an Omnicidal Maniac who easily obsesses over his nemeses. In The Iron Man, Yatsu is originally a homeless and sadomasochistic outcast with a sexual fascination for metal who is run over by an apathetic couple, the Salaryman and the Girlfriend, and decides to get his revenge after gaining the power to control metal, starting by infecting the Salaryman and slowly transforming him into a metal abomination. Becoming obsessed with the Salaryman, Yatsu hijacks the mind of an innocent woman who happened to be near the Salaryman, turning her into his own zombie puppet to get close to him. After the Salaryman accidentally kills the Girlfriend, Yatsu merges with him so that their "love" could destroy the world. In Body Hammer, Yatsu is now the estranged younger brother of the Salaryman, whose real name is Tomoo Taniguchi; both of them were trained by their father to be living weapons, and while Tomoo erased his own memories after killing him, Yatsu theorized that his brother discovered the "beauty in destruction". Forming his own skinhead cult of metal-worshippers, Yatsu murders a random man on the streets simply to show off his powers and works with a scientist to make the metal mutations even worse, killing him once he was not useful anymore. After fusing with his brother yet again, the creature assimilates all of the cult into itself and destroys the entire city. In The Bullet Man, the suicidal Yatsu sets his eyes on a half-android named Anthony, planning on using him as a Weapon of Mass Destruction to kill himself and then leave Anthony to annihilate everything else. After killing Anthony's son as the first step to turn him into a monster, Yatsu massacres a SWAT team and assassinates his father, tricking him with a bomb that would supposedly detonate his wife and his unborn child to force him into blasting Tokyo to the ground.
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  • Epileptic Trees
  • First Installment Wins: The two sequels, though enjoyable films in their own right, are often said to fail to live up to the sheer intensity and mad brilliance of the original.
  • Funny Moments: In The Bullet Man, during Anthony's rampage, a guy (Who also happens to be played by Tomorowo Taniguchi, spots him while brushing his teeth. You can almost HEAR the mental "What"
  • Ho Yay: Between the Salaryman and the Fetishist, of course.
  • Narm:
    • As disturbing and nightmarish as the film is, Tomorowo Taguchi's over the top facial expressions and screaming lessen the horror. Fortunately, the sequel, which has his character transform at will, doesn't have this problem, replacing the gurning with an eerie Slasher Smile.
    • The Bullet Man's acting and dialogue can get cheesy at times. Not to mention its intro. Eric Bossick's fluid movements, grunting, and him clutching his stomach makes it look like he's dancing and being struck by diarrhea rather than being "possessed".
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  • True Art Is Angsty: It has a very bleak and somber tone even before the weird stuff starts happening.
  • True Art Is Incomprehensible: Some scenes are really hard to describe.
  • Visual Effects of Awesome: For a low-budget, grungy-looking film, the effects are pretty impressive. The Salaryman's fully mutated form looks honestly disturbing and like how someone with metal sprouting out of them would look. Also, the chase scenes with the time-lapse effect are impressive to behold. The sequels have even better effects.
  • The Woobie: Anthony from The Bullet Man. Unlike the protagonists of the first two films, he didn't do any sort of horrible wrongdoing in the past, which makes his pain more undeserved

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