With a background in experimental film and advertising, Obayashi imbues the film with a kind of insidious escapism that becomes scarier than any of the deaths on screen. His characters feel like they just stepped out of a soda commercial and never give up their cheery disposition — even after being attacked by floating heads or flaming logs.
It’s a striking satire of the pressure placed upon us by commercial marketing to stay optimistic even when the world feels wrong. It’s also just a bonkers way to spend a night at the movies — the perfect example of how sublimely silly horror can be.