Tag Archives: Hong Kong

IT CAME FROM THE READER-SUGGESTED QUEUE: KUNG FU FROM BEYOND THE GRAVE (1982)

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DIRECTED BY: Chiu Lee

FEATURING: Billy Chong, Lo Lieh, Chin-Lai Sung

PLOT: When martial artist Chung Sing learns that his father was murdered by the sinister Kam Tai Fu, the young man seeks revenge, but he’ll need a book of magic and the help of ghost warriors to defeat his enemy.

Still from Kung Fu from Beyond the Grave (1982)

COMMENTS: Part of the glory of late 70s/early 80s low-budget martial arts cinema is its joyful lack of seriousness. Sure, there may be people fighting each other in a brutal death match, but the whole thing just feels so darn lighthearted. We’re here to enjoy ourselves, not to worry about life and death. So why should we expect anything less when the subject turns to horror? The narrator of Kung Fu From Beyond the Grave informs us that, once a year, the dead return to roam the Earth. And how does this manifest itself? A bunch of silly whooping and fruit invisibly pilfered from dinner tables. Put away your heart pills; this is not serious stuff.        

The absence of gravity is mostly an advantage for a film like Kung Fu From Beyond the Grave, which only wants to have some fun, like a haunted house that also has a judo match set up on the front lawn. When Chung’s father’s ghost (who sounds in the English dub almost exactly like Krusty the Clown) shows up to demand that his son avenge him, you might pick up some Hamlet vibes, but the allusion is undercut slightly when Chung is so surprised that he kicks his ghostly father’s apparition in the face. Screenwriter Fung Lu seems allergic to anything that would approach genuine horror. Warriors returning from the dead bicker about whether to accept their summons, and then float through fight scenes like shirts on the carousel at a dry cleaner. Bodies that rise from their graves and are more annoyed than vengeful. If it weren’t for Lo’s resourceful evil sorcerer, you might start to wonder if anyone in this film knew they were in a movie about the supernatural.

This unsteady mix of martial arts tropes and disdain for scares leads to some of director Lee’s most off-balance impulses. The evil Kam Tai Fu is desperate to achieve invincibility, but his Achilles heel turns out to be his breasts, which resist the shield treatment. The formula for said impenetrability is some obscure dark magic, specifically requiring a pair of hearts stolen from victims at the moment of orgasm, a requirement of such specificity that it feels reverse-engineered to justify the associated sex scene. In the most unexpected and delightfully strange moment, the beleaguered sorcerer escapes Chung and his battalion of ghosts by throwing a wad of cash into their air and yelling, “Count Dracula! Come to my aid!” Sure enough, a pasty European with fangs suddenly appears and flits about, flummoxing his opponents but also not really coming to anyone’s aid. It’s a genuinely bonkers moment, and knowing they had this one up their sleeve, the filmmakers could have used more of them.

Kung Fu From Beyond the Grave is serviceable martial arts action, slightly ridiculous horror, and surface-level weirdness. It lacks the will to be no-holds-barred nutty, but it does make for a nice twist on familiar genre fare. If nothing else, this will always be remembered as the film that taught us how to summon Dracula to our aid. Use that knowledge wisely.

WHAT THE CRITICS SAY:

“The weirdness never lets up in this one, what with the ghosts, zombies, vampires (Dracula himself!) and black magicians all engaging in martial arts mayhem, which consists of (as usual) a frenetic combination of gymnastics, dance choreography and sound-enhanced gesturing.” – Dave Sindelar, Fantastic Movie Musings and Ramblings

(This movie was nominated for review by daustin. Suggest a weird movie of your own here.)     

I think this movie is weirder than average
I think this movie is better than average

Kung Fu from Beyond the Grave is streaming on Prime Video.

IT CAME FROM THE READER-SUGGESTED QUEUE: THREE… EXTREMES (2004)

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Recommended

DIRECTED BY: ,,

FEATURING: , , , Im Won-hee, Kyôko Hasegawa,

PLOT: A woman resorts to extreme measures to regain her youth, an intruder torments a film director and his wife, a young girl is haunted by a traumatic past.

Still from Three... Extremes (2004)

COMMENTS:  Three… Extremes started as a franchise of pan-Asian horror anthologies with 2002’s Three. A collection of short films from Peter Ho-Sun Chan, Kim Jee-woon, and , Three offered a panorama of horror from China, South Korea and Thailand. It never reached the popularity of its sequel, however, remaining obscure while the second and final installment, widely known as Three… Extremes, attained a cult status, largely thanks to a selection of contributors that included a couple of major names in  contemporary  cinema.

Hong Kong’s Fruit Chan offers the first dish, Dumplings. It is perhaps the most infamous of the trilogy, and Chan quickly adapted it into a feature film. The plot revolves around a rich middle-aged woman attempting to regain her youth ( and her husband’s love)  by eating special dumplings that promise to rejuvenate her skin, provided by an unconventional chef. Ethical issues come to the forefront as the stuffing’s origin is revealed. Our heroine’s disgust and second thoughts give easily their way to self-destructive obsession, however. “Dumplings” is a Faustian morality play about the price of narcissism. Like Elizabeth Báthory, the countess who bathed in the blood of virgin women to remain young, our protagonist engages in grotesque acts for selfish reasons. An industrial soundscape enhances the sense of something ominous and disturbing lurking in the background.

After the appetizer, South Korean visionary Park-Chan Wook  presents “Cut.” His story focuses on a successful film director and his wife on the night that an intruder captures them and proceeds with a series of mental and physical tortures. There is no moral justification here; this is no Saw. Instead, the explanation given is brutally honest, making the events following even more shocking. This is a revenge tale, albeit one with elements of social commentary. If you love contemporary socially-conscious genre cinema from South Korea, like Bong Joon Ho‘s Oscar-nominated Parasite (2019), this will be right up your alley (as long as you have a strong stomach for gore). At the same time, the narrative plays masterfully with the nature of reality, blurring the lines between the authentic and the staged, culminating in a series of over-the-top twists and reveals.

The third piece, by far the most haunting, comes from Japan. Takashi Miike’s “Box” is a surreal psychosexual narrative following a young woman ridden by guilt and repressed lust. It alternates between present and past; Miike depicts the former in a cold color palette expressing grief, while warmer tones in the present hint at catastrophic passions. The flashbacks have a carnivalesque aesthetic that, along with the taboo subject matter, recalls ‘s Strange Circus (2005). The hints of supernatural horror and the morbid symbolic imagery are guaranteed to make you shudder.

More often than not, compilation films are uneven. That’s not the case here. A strong thematic link creates coherence, as each tale is a deeply meditative take on human envy. This is thoughtful horror with a psychological aspect, essential viewing for fans of the genre.

WHAT THE CRITICS SAY:

“…Miike’s ‘Box’ is the best of the bunch – a disturbing, dreamlike tale of a woman novelist haunted by dreams of her twin sister who died long ago…  The film may well live up to its title: it is perhaps too extreme for some viewers, perhaps even in bad taste at times, but you have to give all the episodes credit for being bizarre and effective.”–Steve Biodrowski, Cinefantastique

I think this movie is weirder than average
I think this movie is better than average

Three / Three… Extremes [Limited Edition] [Blu-ray]

  • Two anthology films, six ghostly tales of terror, acclaimed directors from Hong Kong, Korea, Thailand and Japan. The ultimate omnibus of horror.

List Price : 39.95 $

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2026 FANTASIA FILM FESTIVAL: NOM NOM NOM, PART NOM NOM

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Montréal 2026

Samuel de Champlain for my real friends and Samuel de Realplain for my sham friends.

7/23: Sekiro, No Defeat

Kenichi Kutsuna made an interesting choice here, though perhaps it’s explainable as being the less-expensive one. I have played the video game Sekiro, and managed to batter my way through a bit of the narrative; it’s a lush fantasy samurai epic, with supernatural doings throughout a long story featuring conspiracy, political machinations, betrayal, and so on. But the team behind the adaptation focused on something I did not expect. Sure, sure, there are some fights scenes of adequate quality, and the core NPCs are all there (special shout-out to the smirkingly tragic undying samurai mentor), but the film focuses on the father/son-esque relationship between Wolf and the Divine Heir, with sundry scenes of bonding between them—including making confectionaries for the townsfolk’s festival. (I do not remember this bit from the game, but again: I didn’t get far.) Curious soundtrack choices, too. Hm.

The Eyes

The rule of thumb for me at Fantasia is I should scale back my official reactions to films until I hear from my peers. I like to like movies, and this tendency can lead me to enjoy certain movies I possibly shouldn’t: like Yeom Ji-ho’s stalker/horror thingy, wherein the passing of one twin sister (both with a degenerative condition of the eyes) causes the other to suspect the circumstances and investigate the mystery—all while her own vision deteriorates. I got on board with the twists and tropes (“derivative” is a quick way to describe the film), but plenty here disagreed, and I have no arguments. Indeed, one famous film critic (and all-around horror afficionado) emerged from the screening with a look of abject bewilderment and an obvious need to get something off his chest. Being the nearest victim, I spent the next few minutes absorbing his incredulous disappointment.

7/24: We’re Nothing At All

The film opens with brief credits, then an overhead shot of a Hong Kong bus meandering the streets, and then an explosion. Cue closing credits. Herman Yau’s film begins again after this Continue reading 2026 FANTASIA FILM FESTIVAL: NOM NOM NOM, PART NOM NOM →

2026 FANTASIA FILM FESTIVAL: NOM NOM NOM, PART NOM

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Montréal 2026

I briefly met a Danish fellow and complimented him on his film; he in turn complimented me on my jacket.

7/16: Kung Fu

Opening night, late night. Following my descent into Refn’s dreamscape, I took in a new kung fu comedy by Giddens Ko. An eight-century-old master of an esoteric martial art convinces two teenage losers to become his disciples, hoping to unlock their strength to aid him in his fight against his nemesis. Kung Fu delivers plenty of kung fu, as well as plenty of laughs in the first half (cheesy wuxia-style flashbacks with knock-off screen legends, and more snakes than I could count—for training, you see). The second half goes dark, as underlying causes come to the fore. While the stars are the fighting threesome (excuse me, foursome:the  young, non-loser contemporary of the losers is a vivacious hoot),the  nebulous Government Man steals every scene he’s in, providing an unanticipated menace.

7/17: Tunnels: Sun in the Dark

Chuyen Bui Thac walks a fine line (crawls a narrow passage?) with Tunnels, set within and above a circuit of rooms and tunnels inhabited by a couple dozen Viet-Cong fighters. The arrival of a clandestine intelligence group coinciding with the appearance of an eager outsider triggers tension. It was thrilling to experience the claustrophobia and comradery, as weapon and survival skills were on display (the outsider, in particular, showed an eagerness that bordered on death wish: watching him remove the explosive element of a failed bomb by heating the casing over a fire was… tensely amusing). Kudos to the director for his deft storytelling, and in particular for giving the Yankee soldiers far more fair a shake than expected. War is hell, and Chuyen Bui Thac makes it clear that none of these poor souls should have had to be caught up in its evil.

Trauma Or, Monsters All

Going for broke, ties together three of his earlier movies (Habit, Depraved, and Blackout) in the story of a young woman recently moved to Talbot Falls, NY, hoping for a quiet environment in which to work on her historical book about George Washington Carver (“You know, the peanut guy.”) When she observes strange activity by a neighbor’s Continue reading 2026 FANTASIA FILM FESTIVAL: NOM NOM NOM, PART NOM →

IT CAME FROM THE READER-SUGGESTED QUEUE: CAN DIALECTICS BREAK BRICKS? (1973)

La dialectique peut-elle casser des briques?

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Recommended

DIRECTED BY: René Viénet

FEATURING: Hung- Liu Chan, Ingrid Yin-Yin Hu, Jason Piao Pai

PLOT: Alienated proletarians, trained in kung fu, fight against their bureaucratic oppressors.

Poster for "Can Dialectics Break Bricks?" (1973)

COMMENTS: What if a typical kung fu flick was transformed through voiceover into a subversive and radical wanna-be manifesto? Such an anarchic romp could only come from France. But let’s take things from the beginning.

Some definitions should be clarified. Dialectics is a product of the Situationist movement, a group of anti-capitalist artists and thinkers, known cinematically mostly through Guy Debord’s documentaries. Like a lot of spoofs—What’s Up Tiger Lily? (1966) and In Search of the Ultra-Sex (2016) come to mind—this movie takes preexisting material and subverts its meaning through clever use of voiceovers.  The Situationists call the exact technique used here “détournement”, and it could be better defined as a reappropriation in a new and ideologically subversive setting. It is a recontextualization of images so that new meanings, radically different than previous, are produced: a practice commonly used in  postmodernist art of the later half of the twentieth century until our own time.

With the theoretical background of this movie specified, what is it really about? The plot revolves around a commune of proletarian martial artists defending themselves against alienation and their evil overlords. These overlords are not simply your typical evil Western capitalists, but we can trace references to the Soviet Union’s nomenklatura as well. They in fact represent of every possible state, even of those that hypocritically claim to defend the rights of the proletariat.

A main character emerges from the crowd, a typical hero who becomes the focus of the narrative, a man who sets his noble ideals against the bad guys. What is atypical of the genre , though, is that while the choreography of fighting plays out, our characters indulge in deep conversations about class struggle, the abolition of masters, and Wilhem Reich‘s writing, among other subjects. Through voice-over an “essential”  bibliography is mentioned, too, which one of the most unexpected and weirdest elements of the movie.

Don’t worry, though. This is not a heavy movie. Sexual jokes and self-aware irony prove its unwillingness to take itself too seriously. In fact, Dialectics isn’t much more than a funny gimmick. It surely has an appeal for fans of cult cinema, but it is not essential viewing for anyone interested in the Situationist movement. On the other hand, if you enjoy this kind of absurd humor—and the eccentric idea of a martial arts show about the class struggle—and would like to view something similar, albeit in a contemporary setting, try to find the French TV show “Machine” (2024) created by Thomas Bidegain and Fred Grivois.

WHAT THE CRITICS SAY:

“An obnoxious and hilarious stunt from 1973…”–Eve Tushnet, Patheos (streaming)

(This movie was suggested for review by Comrade Faustroll, who said “The filmmakers strike the right balance of meaning what they’re saying enough to be really weird, but joking enough to keep it interesting.” Suggest a weird movie of your own here.)