Author: M.C. Thomason
My Name Is NobodyMar 12, 2021
‘My Name is Nobody’ (due to its budgetary constraints and modest scale) doesn’t hold a candle to the greats of the sub-genre, but it harbours one saving grace – and it’s a nasty one.
Girl$Dec 4, 2020
Any way you approach it, the multitude of flaws inherent within ‘Girl$’ outweighs its handful of pluses and it remains a (sadly) vapid entry within its given sub-genre.
Seeding Of A GhostAug 7, 2020
For the undemanding genre fan, or neophyte viewers just discovering Asian horror, ‘Seeding of a Ghost’ is that illustrious “beer & pizza” time waster that provides a taster of what else to expect.
A Wicked GhostJun 19, 2020
‘A Wicked Ghost’ is a vaguely interesting premise, let down by some rather pedestrian direction and generally wooden performances by its largely unknown cast.
Set UpJun 6, 2020
Definitely a blight on Billy Chung’s eclectic cinematic oeuvre, ‘Set Up’ is a formerly shelved title that should have remained buried indefinitely.
Last Ghost StandingMay 15, 2020
It’s certainly not a film that will rock anyone’s world, but as a throwback to a bygone era of Hong Kong horror it’s a refreshingly rewarding treat.
Indecent WomanMay 1, 2020
No Category III classic assuredly, but certainly a pleasantly sexy diversion that makes for pain-free viewing.
Ghost OfficeApr 16, 2020
Clearly a set of well-intentioned, though poorly executed, morality plays, ‘Ghost Office’ proves itself in the long-run to be an enormous flub.
AstonishingMar 30, 2020
Well worth giving your time to, as long as you’re prepared for things to go out on a whimper rather than a bang.
Simply ActorsSep 17, 2019
‘Simply Actors’ represents a modest enough cinematic diversion, even superficially entertaining in passages, for modern Hong Kong cinema aficionados.
The MatrimonyAug 26, 2019
It is an elegant, richly designed and photographed tale of love from beyond the grave that rarely bothers itself with the imagery or shock-tactic clichés of the genre.
The HeirloomAug 1, 2019
There are no true “scares” to be had in Chen’s film, at least not in the traditional horror genre sense, but there are some bona fide moments of dread that will dig in and crawl under one’s skin.