The Enchanting Ghost (1970)

The Enchanting Ghost [鬼屋麗人] (1970)

Starring Chang Mei-Yao, Yang Li-Hua, Lui Ming, Lam Ban, Lee Hung, Julie Lee Chi-Lun, Sha Lee-Man, Ko Hsiang-Ting, Tsui Fu-Sheng, Tai Leung, Ko Hsiao-Pao, Ng Ho

Directed by Chou Hsu-Chiang

Expectations: Excited, I liked Chou’s The Bride from Hell.


Like last week’s film, The Ghost Story, The Enchanting Ghost falls into the category of Hong Kong horror with only minor elements of what usually defines a horror film. The Enchanting Ghost was also based on a story from Pu Songling’s 18th century collection of ghost stories and other assorted cautionary tales, Strange Stories from a Chinese Studio. This particular film is based on the story The Bookworm, for those interested in seeing how differently things play out in the two versions. As with most classic Hong Kong ghost films, your enjoyment of The Enchanting Ghost will depend on having properly set expectations for a slower pace and light supernatural elements. With that in mind, I thoroughly enjoyed The Enchanting Ghost from start to finish. It is a finely crafted film that definitely makes you wait for the ghostly happenings, but the journey towards them is also largely charming and entertaining.

Lang Yu Zhu (Yang Li-Hua, playing against gender as a male) is a scholar whose entire existence is consumed by his affection for learning and books. He doesn’t do much else, based in part on his particular love for a real-life poem by Emperor Zhenzong titled Quanxueshi (劝学诗). The poem is a love letter to studying, expressing that study can bring such things as fortunes, good harvests, and beautiful women. When we meet Lang, he is lovingly reciting these lines of the poem, and in a few short minutes he is given the chance to test the poem’s theories. Lang’s uncle covets his home, so he arranges with an official to seize it from Lang under the auspices of repaying the debt left by Lang’s father when he passed. Whether this debt is legitimate or not, Lang is thrown out into the street with nowhere to call home, so he decides to take up residence in the town’s derelict haunted house.

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The Ghost Story (1979)

The Ghost Story [鬼叫春] (1979)

Starring Yueh Hua, Woo Gam, Shirley Yu Sha-Li, Lisa Chiao Chiao, Wong Ching-Ho, Kara Hui, Lam Yeung-Yeung, Jamie Luk Kim-Ming, Lee Kwan, Ng Hong-Sang, Yeung Chi-Hing, Fung Ging-Man, Wang Han-Chen, Ku Wen-Chung, Tin Hoi-Fung

Directed by Li Han-Hsiang

Expectations: Curious, but not sure.


The Ghost Story is a sort of anthology film, but the way it’s told the second story is meant to represent the reincarnations of the characters from the first, and the leads are played by the same actors (Woo Gam & Yueh Hua). Some secondary actors reappear in similar roles, as well. But since there are two distinct segments and a framing story of a grandpa telling stories to a rapt audience, I suppose it’s as much of an anthology film as anything else. The stories here are adapted from Pu Songling’s ever-popular short story collection, Strange Tales from a Chinese Studio, first published in 1740. The bulk of the film is based on one of the most popular tales, The Painted Skin, while the first story is a bit harder to pin down.

There are 491 stories in the full version, but most English editions are whittled down to somewhere around 100 stories. The book I have has a story titled Making Animals that contains some elements present in the first segment of The Ghost Story, but other than that I was unable to identify the specific story being adapted. A six-volume, complete English translation was finished a few years ago by Sidney L. Sondergard, so perhaps one day I’ll figure it out. For now, though, we’ll have to be satisfied not knowing or assuming that Li wrote a new story around elements of Making Animals. Anyway, once he tells the kids to go to bed, our narrator begins a tale that occurred sometime during the reign of Empress Wu of the Tang dynasty. It is the story of Hua’s Inn, run by three sisters, and how a group of tired soldiers sought refuge there.

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The Brotherhood V: Alumni (2009)

Starring Brett Novek, Arthur Napiontek, Preston Davis, Maria Aceves, Nathan Parsons, Oskar Rodriguez, Lindsey Landers

Directed by David DeCoteau

Expectations: Hopeful. I like most of this series.

On the general scale:

On the B-movie scale:


After the high quality of The Brotherhood IV, I came into The Brotherhood V: Alumni with hope for another great Brotherhood film. There were four years between entries… maybe that time was spent looking for a story worthy of the renowned Brotherhood name! My hopes quickly fell when I saw the locker-lined hallway of a high school, though. In this moment, director David DeCoteau certainly inspired horror within me, but not the horror intended! 🙂 The Brotherhood V: Alumni is more like The Brotherhood III, although thankfully it’s more entertaining than that bottom-of-the-barrel film. That isn’t apparent in the film’s intro, though, where a nerdy teenager on prom night is stalked through the impossibly blue, locker-lined halls by perhaps the least urgent stalking killer in film history. The nerd is tracked into the girls’ locker room, where he undresses, showers, and is ultimately murdered. The sound of a heartbeat plays the entire time, like a meditation mantra pulling you down into a state of sweet oblivion. This all plays about as slowly as is humanly possible, taking up the first 15 minutes of the movie.

It is here that we meet the brotherhood of this film, a completely down-to-earth group without a shred of the supernatural to be found. They bond over their shared promise to never speak of what happened on prom night in the girls’ locker room, not from any altruistic ideal, but because their prank on the nerd kid went wrong and someone stole the video tape that recorded it for posterity. One year later, the friends all receive a blue envelope containing an invitation to a school reunion, or to a one-year prom reunion or something. I don’t remember exactly, and it doesn’t really matter. What matters is that they have been called back to the school, and whoever called them there is terrorizing them with the threat of releasing the tape.

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Winner Takes All! (1977)

Winner Takes All! [面懵心精] (1977)
AKA 泥鰍吃猛龍

Starring Richard Ng, Lok Shut, Rosalind Chan Yee-Hing, Tang Ching, Dean Shek Tin, Max Lee Chiu-Chun, To Siu-Ming, Addy Sung Gam-Loi, Lee Hoi-Sang, Ho Pak-Kwong, Karl Maka, Guy Lai Ying-Chau, Hon Kwok-Choi, Sammo Hung, Yue Tau-Wan, Peter Chan Lung, Hsiao Ho

Directed by Karl Maka

Expectations: Excited, but I don’t really know what to expect.


Winner Takes All! was independently produced, but it is the final film of 1977 that I’m covering as part of my chronological Shaw Brothers series. I chose to review it because it was widely successful in 1977, reaching #2 at the Hong Kong Box Office, incorporating comedy and kung fu in a way that would soon sweep the Hong Kong industry with the 1978 release of Snake in the Eagle’s Shadow and Drunken Master. Upon watching Winner Takes All!, though, I realized that its place in Hong Kong cinema history is far greater than simply “doing well at the box office,” as it represents another step in the dominance of Cantonese cinema in the wake of Michael Hui’s successes. In the three years prior to this (1974–1976), a Michael Hui-directed movie — all starring himself and his brothers — dominated the top spot of the Hong Kong box office. Hui would again top the charts in 1978 with The Contract, but he did not release a film in 1977.

Richard Ng is one of Hong Kong’s most famous and recognizable comedians. I’ve seen him in so many movies, it almost feels like he’s always been around. He apparently started on the Hui Brothers TV show in the early ’70s, and received his first major film role in Michael Hui’s 1976 smash-hit The Private Eyes. 1977 was the year Ng was cemented into Hong Kong cinema history, though, as he starred in both the #1 film (John Woo’s The Pilferer’s Progress AKA Money Crazy) and the #2 film, Karl Maka’s Winner Takes All. Like this film, all of Michael Hui’s films were filmed in Cantonese, and along with Chor Yuen’s mega-hits The House of 72 Tenants (1973) and Hong Kong 73 (1974), they were the impetus for the industry to shift towards the Cantonese language. In addition, Hui’s directorial debut, 1974’s Games Gamblers Play, essentially saved Golden Harvest from bankruptcy and paved the way for comedy’s rise as a dominant genre in Hong Kong cinema, both coupled with kung fu and not.

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Pursuit of Vengeance (1977)

Pursuit of Vengeance [明月刀雪夜殲仇] (1977)
AKA Moonlight Blade: Vengeance on a Snowy Night (literal translation of Chinese title)

Starring Ti Lung, Lau Wing, Lo Lieh, Paul Chang Chung, Derek Yee, Shih Szu, Wai Wang, Ku Kuan-Chung, Cheng Miu, Yeung Chi-Hing, Ou-Yang Sha-Fei, Norman Chu Siu-Keung, Chen Ping, Lam Fai-Wong, Fan Mei-Sheng, Wa Lun, Chan Shen, Ngaai Fei, Yue Wing, Liu Wai, Stephan Yip Tin-Hang, Keung Hon, Wong Ching-Ho, Shum Lo, Bruce Tong Yim-Chaan, Jamie Luk Kim-Ming, Mama Hung

Directed by Chor Yuen

Expectations: High. Can Chor Yuen go five for five in 1977?


I expected to enjoy Pursuit of Vengeance, but the film surprised me and outdid every expectation I had for it. In researching the previous Chor Yuen films based on Gu Long’s Little Li Flying Dagger series (The Sentimental Swordsman & The Magic Blade), I read a basic plot synopsis of the novel that Pursuit of Vengeance is based on, Bordertown Prodigal (邊城浪子, Biancheng Langzi). It mentioned that the main characters, Ye Kai (Lau Wing) and Fu Hong-Xue (Ti Lung), both had love interests, and that the events of the book are what leads Fu to becoming the disillusioned, hard-boiled swordsman we see in The Magic Blade. So naturally I expected some sort of typical romantic storyline within the dangerous Chor Yuen martial world. The film is far removed from this, though, with nary a single love interest to be found. The film definitely does not need them, but because I was expecting it to figure in somewhere along the line, I spent the film looking for the seeds of this non-existent sub-plot and wound up admiring how cleverly plotted and perfectly paced the film is without it.

Like any good wuxia, Pursuit of Vengeance is full of twists that shouldn’t be revealed in wholesale by the likes of me. The Wan Ma clan is inviting swordsmen to their school, and they refuse to take no for an answer. When Fu Hong-Xue says he will not visit, the emissary for the clan says that he will remain there in the road, waiting for Fu’s acceptance, as long as it takes. Of course, this can’t be an innocent gesture, and Fu is too savvy to agree. Ye Kai is also invited, as are others, and it becomes clear that a specific group of people are being pulled together by the Wan Ma clan. What is their purpose? Who is in pursuit of vengeance? You’ll have to watch the movie! It’s too good for me to delve any deeper into the story, suffice it to say that many things are not what they seem and it will take our heroes’ every wit and sense to survive.

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Skiptrace (2016)

Skiptrace [絕地逃亡] (2016)

Starring Jackie Chan, Johnny Knoxville, Fan Bing-Bing, Eric Tsang, Eve Torres, Winston Chao Wen-Hsuan, Yeon Jung-Hoon, Kira Shi Shi, Michael Wong Man-Tak, Dylan Kuo Pin-Chao, Zhang Lan-Xin, Na Wei, Charlie Rawes, Mikhail Gorevoy, Sara Forsberg, Jai Day, Richard Ng

Directed by Renny Harlin

Expectations: Pretty low.


Skiptrace was released a couple of years ago, and if I was a competent film reviewer doing a Jackie Chan series I might have reviewed it back then. I chose not to for a simple reason: Skiptrace didn’t look great, in fact it looked like a film that I didn’t mind waiting to see whenever I reviewed my way up to it. That time has finally come, and I can’t say that I was wrong to wait. Skiptrace is as bad as I thought it would be, but somehow knowing exactly why it’s bad just makes it seem worse than before. I’m not a fan of the Shanghai Noon films, and that’s what this film most closely resembles, so I imagine if you like those you might like this one, too.

We begin in the past, where Bennie Chan (Jackie Chan) scales a dock structure to help his friend (Eric Tsang) with the giant bomb strapped to his chest. Eric Tsang, knowing he is beyond help, jumps into the water below and explodes, leaving Jackie with the guilt and the responsibility to care for Eric’s daughter, Samantha (Fan Bingbing). Meanwhile, Connor (Johnny Knoxville) is a scumbag hustler who happens to meet Samantha in a Macau casino. While there he sees a man murder a woman; the same man who Hong Kong policeman Bennie Chan has tried to convict since he killed Eric Tsang. Somewhere in there Connor and Bennie meet up and the chase is on, with Chinese drug runners and a group of Russians in hot pursuit. It’s hard to describe, but it doesn’t play so disjointed while you’re watching it.

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Foxbat (1977)

Foxbat [狐蝠] (1977)
AKA Operation Foxbat, Nato Code Name MIG-25

Starring Henry Silva, Vonetta McGee, Rik Van Nutter, Roy Chiao, James Yi Lui, Melvin Wong, Wong Hung, Nick Lam Wai-Kei, Phillip Chan Yan-Kin, Tong Chung-San

Directed by Po-Chih Leong

Expectations: High. I liked Jumping Ash, and this one’s on Blu-ray!


In 1976, Po-Chih Leong co-directed Jumping Ash, a film often cited as the beginning of the Hong Kong New Wave. The film was a big hit, and so the following year Leong made Foxbat. The film is interesting in many ways, perhaps most because it is a Hong Kong production shot in English and featuring an international cast. This sort of thing had been done prior by Shaw Brothers and Golden Harvest, but those I’ve seen have all been co-productions with a Western-based film company. Foxbat was made fully independently, so it carries none of the baggage that studio-based co-productions generally have; it is a film with a singular vision executed with style and confidence. Like Jumping Ash it exhibits many hallmarks of the Hong Kong New Wave films, specifically a noted influence from European and American films, location shooting, and the multi-tonality that would come to define Hong Kong filmmaking during the ’80s and ’90s.

The story of Foxbat is based in current events of the time, taking the defection of Russian pilot Viktor Belenko as its jumping off point. On September 6, 1976, Belenko landed his MiG-25 Foxbat jet at the Hakodate Airport in Hokkaido, Japan. The film begins here as well, showing us the defection with scenes shot at the actual Hakodate Airport where it happened. From here the fiction begins, with multiple groups desiring the chance to study the Russian fighter jet. The CIA send Mike Saxon (Henry Silva), a James Bond-style operative, and he captures all the pertinent info via his photographic fake eye. He hides the film inside a candy so it can pass unsuspected through customs, but things get hairy when a goofy Chinese cook, Cheung (James Yi Lui) mistakenly eats the candy!

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