This is a step up from the first of the series in most respects. The character of Scorpion is starting to take on a mythical quality on account of her determination and the pureness of her desire for revenge. She has also gotten almost completely mute. Meanwhile, the exploitation has been scaled back by quite a bit. There are still numerous sex scenes, and two separate rape scenes, but there's a bit more focus on the plot.

It ignores the genre's usual aims (there's not that much exploitation here to be honest) and instead plunges in to an artistically bold and utterly ravishing expressionistic bent. The film isn't as fun as the first in the trilogy but it is instead utterly thrilling because Ito is determined to throw everything and several kitchen sinks at the screen.

This is a weird film even for the genre. Some of the visuals are awe-inspiring, but the despicable characters and the constant derailing of the plot in favour of surreal dance scenes begin to grate after a while. It's basically what Suzuki Seijun would have made if he were evil. Also, Meiko Kaji doesn't get to do much but look cool in this one, and the prison outfits blow (though major points for her revenge outfit... awesome).

like I said, pure awesomeness beyond comprehension

More japanese pinky violence. This is even more stylized than the first one in the series, with some interesting camerawork and Argento-like use of color. Zero substance of course, but good fun.

In some way it reminded me of Suspiria. Just like Argento's masterpiece the whole film is style over substance, but that's what makes it so great.

The acting is pretty bad, and I never really cared about the characters. But it's an improvement over Female Prisoner #701 in almost every way. The exploitation is toned down (still manages to squeeze in some rape, though), and as a consequence the story moves quicker and is a bit more interesting. But what makes this movie shine is the camera language. It's very bold, utilizing a handful of tricks to keep things sparkling. It reminds me a bit of An Actor's Revenge in its freedom.