Given the title, you’d expect Holy Virgin vs. The Evil Dead to be a schlocky zombie movie. It turns out it’s more of a horror-tinged nudie cutie. This “erotic” martial arts fantasy horror stars Donnie Yen and a gaggle of Topless Babes (give or take one warrior princess) in a fight against a supernatural horndog Moon Monster. The monster is more of a moon-dwelling cannibal wizard with glowing eyes than a walking corpse, and he’s far more interested in ripping blouses off unsuspecting women than he is in eating brains. If it weren’t for the gore & the fight choreography, this film could pass as an old-fashioned nudist comedy along the lines of The Immoral Mr. Teas or Nude on the Moon. It’s incredibly sleazy late-night trash that’s so endlessly fascinated with bare breasts it’s also somehow adorably quaint.
If there’s any element in Holy Virgin that justifies the “Evil Dead” half of its title, it’s in the drastic comic book camera angles and low-to-the-ground tracking shots it lifts directly from Sam Raimi’s playbook. Those images only come in flashes during the Moon Monster attacks, though. The rest of the film is an oddly straight-forward police procedural in which a college professor (Yen) is suspected of stripping & murdering his female students. Meanwhile, the audience knows the truth: a cult that worships a mustachioed goddess has summoned a boobs-obsessed lunar ghoul to do the job. Duh! Thankfully, a badass virgin princess with a laser sword takes over the investigation halfway through to save the professor’s hide (and to put an end to the violent strippings, of course). Rapid-paced fight choreography & wuxia-style wire work ensues, until the whole thing concludes with a police shootout in a cave decorated with giallo-style crosslighting.
It’s impossible to describe Holy Virgin vs. The Evil Dead without overselling it. Even its own impatient opening credits sequence that previews the gore & nudity to come feels like hyperbolic hype the movie never lives up to. Still, it’s a delightful late-night curio that touches on an incredibly vast range of genre payoffs: dark fantasy, 80s splatter horror, police procedurals, martial arts epics, softcore porno, etc. The fact that its Skinemax-era sexuality and post-Raimi horror signifiers have become increasingly outdated in the decades since its release only make it more charming to the modern schlock-gobbling viewer. It’s a weirdly adorable film for something so gore-soaked & sexually violent, almost as if it were produced for an audience of perverse children. I wish I had first seen it when I was 10 years old, anyway.