Shawscope Volume Four: Limited Edition – Arrow Video (Blu-ray)

Theatrical Release Dates: Hong Kong, 1975 (Super Inframan, Black Magic), Hong Kong, 1976 (The Oily Maniac, Black Magic 2), Hong Kong, 1977 (The Battle Wizard), Hong Kong, 1980 (Hex, Hex vs. Witchcraft, Bat Without Wings), Hong Kong, 1981 (Bewitched, Bloody Parrot), Hong Kong, 1982 (Hex After Hex, The Fake Ghost Catchers), Hong Kong, 1983 (Demon of the Lute, Seeding of a Ghost, Portrait in Crystal, Twinkle Twinkle Little Star)
Directors: Hua Shan (Super Inframan, Bloody Parrot, Portrait in Crystal), Ho Meng Hua (The Oily Maniac, Black Magic, Black Magic 2), Pao Hsueh-li (The Battle Wizard), Kuei Chih-Hung (Hex, Bewitched, Hex vs. Witchcraft, Hex After Hex), Chor Yuen (Bat Without Wings), Lau Kar-Wing (The Fake Ghost Catchers), Tang Tak-Cheung (Demon of the Lute), Chuan Yang (Seeding of a Ghost), Alex Cheung (Twinkle Twinkle Little Star)
Cast: Danny Lee, Wang Hsieh, Terry Liu, Yuan Man-tzu, Bruce Le (Super Inframan), Danny Lee, Chen Ping, Lily Li, Ku Feng (The Oily Maniac), Danny Lee, Lin Chen-Chi, Tien Lie, Lam Jan-kei, Wai Wang (The Battle Wizard), Ti Lung, Lo Lieh, Tien Lie, Lily Li, Ku Feng (Black Magic), Ti Lung, Lo Lieh, Liu Hui-Ju, Lily Li, Lin Wei-Tu (Black Magic 2), Tien Ni, Wang Jung, Chen Szu-Chia (Hex), Ai Fei, Melvin Wong, Fan Lei, Lily Chan Lee-Lee (Bewitched), James Yi Lui, Jenny Leung, Cheung Miu-Lin, Yang Chi-Ching, Lam Fai-Wong (Hex vs. Witchcraft), Lo Meng, Liu Lan-Hsi, Dan Lau, Hon Kwok-Choi (Hex After Hex), Derek Yee, Ching Li, Wang Yong, Tang Ching, Susanna Au-Yeung Pui-San, Ku Feng (Bat Without Wings), Jason Pai Piao, Lau Wing, Kwan Fung, Yeung Ching-Ching, Chan Shen, Jenny Liang (Bloody Parrot), Alexander Fu Sheng, Hsiao Ho, Cheung Chin-Pang, Johnny Wang Lung-Wei, Lily Li (The Fake Ghost Catchers), Chin Siu-Ho, Kara Hui, Kei Kong-Hung, Phillip Kwok, Lung Tien-Hsiang, Jason Pai Piao (Demon of the Lute), Phillip Ko, Maria Yuen, Norman Chui, Tien Mi (Seeding of a Ghost), Jason Pai Piao, Lau Yuk-Pok, Wang Yong, Chan Sze-Kai, Teng Wei-Hao (Portrait in Crystal), James Yi Lui, Cherie Chung, David Lo, Leung Tin, Tam Tin-Nam (Twinkle Twinkle Little Star)

Release Date: December 8th, 2025 (UK), December 9th, 2025 (USA)
Approximate Running Times: 90 Minutes 39 Seconds (Super Inframan), 90 Minutes 32 Seconds (The Oily Maniac), 80 Minutes 9 Seconds (The Battle Wizard), 97 Minutes 51 Seconds (Black Magic), 92 Minutes 59 Seconds (Black Magic 2), 97 Minutes 6 Seconds (Hex), 107 Minutes 42 Seconds (Bewitched), 100 Minutes 59 Seconds (Hex vs. Witchcraft), 105 Minutes 33 Seconds (Hex After Hex), 95 Minutes 15 Seconds (Bat Without Wings), 96 Minutes 32 Seconds (Bloody Parrot), 103 Minutes 3 Seconds (The Fake Ghost Catchers), 106 Minutes 32 Seconds (Demon of the Lute), 90 Minutes 19 Seconds (Seeding of a Ghost), 82 Minutes 40 Seconds (Portrait in Crystal), 96 Minutes 10 Seconds (Twinkle Twinkle Little Star - Cantonese Version), 97 Minutes 15 Seconds (Twinkle Twinkle Little Star - Mandarin Version)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films Except Bewitched, Hex After Hex, Seeding of a Ghost), 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Bewitched, Hex After Hex, Seeding of a Ghost)
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Mandarin (All Films), LPCM Mono Cantonese (Super Inframan, Hex, Bewitched, Hex vs. Witchcraft, Hex After Hex, Seeding of a Ghost, Twinkle Twinkle Little Star), LPCM Mono English (Super Inframan, The Battle Wizard, Black Magic, Black Magic 2)
Subtitles: English (All Films), English SDH (Super Inframan, The Battle Wizard, Black Magic, Black Magic 2)
Region Coding: Region A,B
Retail Price: £169.99 (UK), $199.95 (USA)

"A LONG TIME AGO, IN A MOVIE STUDIO JUST OFF CLEARWATER BAY....

As special effects-driven horror and sci-fi cinema dominated the global box office in the 1970s, Hong Kong's mightiest film studio Shaw Brothers not only followed suit but took things one step beyond!

One of Shaws' most beloved cult classics, Hua Shan's tokusatsu tribute Super Inframan stars Danny Lee (The Killer) as the titular high-kicking superhero, defending the planet against a demon queen and her legion of subterranean mutant minions. Lee also stars as a monster vigilante issuing vicious justice in Ho Meng-hua's creeptastic Oily Maniac and as the prince granted magical powers in Pao Hsueh-li's fantastical wuxia Battle Wizard. Director Ho next treats us to a double-helping of occult mayhem with Black Magic and its sequel, where Ti Lung battles wicked voodoo doctors with the power to cast spells and raise the dead. Four more doses of unhinged madness follow from Kuei Chih-hung in the form of Bewitched and the Hex trilogy, an unforgettable quadruple serving of possession and witchcraft that presaged his notorious brain-melting classic The Boxer's Omen.

Master filmmaker Chor Yuen adds a hefty dose of horror to his trademark wuxia-mystery style in Bat Without Wings, in which a young sword fighter must end a deranged martial arts master-turned-multiple murderer's perverted rampage. Hua Shan returns with Bloody Parrot, an eye-poppingly vivid horror fantasy about two swordsmen hunting a demon that offers to grant wishes, only to leave a messy trail of destruction in its wake. Lau Kar-wing's kung fu jiangshi comedy The Fake Ghost Catchers sees two conmen unwittingly enlisted to battle spirits from the underworld, while Tang Tak-cheung's hair-raising wuxia fantasia Demon of the Lute has to be seen to be believed. Yang Chuen's gruesome splatterfest Seeding of a Ghost has a taxi driver enlist a necromancer's help in avenging the murder of his wife, with sickening results; and Hua Shan returns with Portrait in Crystal, a deliriously imaginative tale of a murderous swordswoman brought to life through a crystal sculpture. Last but not least, Alex Cheung's Twinkle Twinkle Little Star is an out-of-this-world comedy in which city girl Cherie Chung is abducted by aliens and taken to a galaxy far, far away..." - synopsis provided by the distributor

Video: 4.25/5 (All Films)

Here’s the information provided about this release's transfer, “All sixteen films have been newly restored by Arrow Films in 2025, in collaboration with L’Immagine Ritrovata, Hong Kong Film Archive and Celestial Pictures. The original 35mm negatives for these films were scanned at L’Immagine Ritrovata Asia and restored in 2K resolution at L’Immagine Ritrovata, Bologna. Super Inframan, The Battle Wizard, The Oily Maniac, Black Magic, Black Magic 2, Hex, Hex vs. Witchcraft, Hex After Hex, and Twinkle Twinkle Little Star were graded at R3store Studios, London. Bewitched, Bat Without Wings, Bloody Parrot, The Fake Ghost Catchers, Demon of the Lute, Seeding of a Ghost, and Portrait in Crystal were restored at Dragon DI, Wales. These restorations have used the entire film negative without resorting to the practice of “frame-cutting,” resulting in the loss of film frames at each negative splice point.”

Super Inframan comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.9 GB

Feature: 28.8 GB

The Oily Maniac and The Battle Wizard come on a 50 GB dual layer Blu-ray.

Disc Size: 46.1 GB

Feature: 23.5 GB (The Oily Maniac), 22.5 GB (The Battle Wizard)

Black Magic and Black Magic 2 come on a 50 GB dual layer Blu-ray.

Disc Size: 46.4 GB

Feature: 23.6 GB (Black Magic), 22.4 GB (Black Magic 2)

Hex and Bewitched come on a 50 GB dual layer Blu-ray.

Disc Size: 46.2 GB

Feature: 21.8 GB (Hex), 24.3 GB (Bewitched)

Hex vs. Witchcraft and Hex After Hex come on a 50 GB dual layer Blu-ray.

Disc Size: 46.5 GB

Feature: 22.7 GB (Hex vs. Witchcraft), 23.7 GB (Hex After Hex)

Bat Without Wings and Bloody Parrot come on a 50 GB dual layer Blu-ray.

Disc Size: 46.1 GB

Feature: 23.1 GB (Bat Without Wings), 23.2 GB (Bloody Parrot)

The Fake Ghost Catchers and Demon of the Lute come on a 50 GB dual layer Blu-ray.

Disc Size: 45.8 GB

Feature: 22.3 GB (The Fake Ghost Catchers), 23.3 GB (Demon of the Lute)

Seeding of a Ghost and Portrait in Crystal come on a 50 GB dual layer Blu-ray.

Disc Size: 45.6 GB

Feature: 24.5 GB (Seeding of a Ghost), 20.9 GB (Portrait in Crystal)

Twinkle Twinkle Little Star comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.3 GB

Feature: 29.1 GB

All of the sources look excellent; flesh tones and colors look correct, image clarity and compression are solid, black levels are strong, and there are no issues with digital noise reduction.

Audio: 4.25/5 (All Audio Tracks)

All of the films come with a LPCM mono mix in Mandarin; Super Inframan, Hex, Bewitched, Hex vs. Witchcraft, Hex After Hex, Seeding of a Ghost, and Twinkle Twinkle Little Star also come with a LPCM mono mix in Cantonese; and Super Inframan, The Battle Wizard, Black Magic, and Black Magic 2 come with a LPCM mono mix in English. All of the tracks sound excellent, the dialog always comes through clearly, everything sounds balanced, and ambient sounds are well represented. Included are English subtitles for the Mandarin and Cantonese language tracks, English SDH for the English language tracks, and English subtitles for Mandarin and Cantonese text when watching with the English language track. Language tracks and subtitles can only be changed via the setup menu and not during playback.

Extras:

Extras for Super Inframan include a Hong Kong theatrical trailer (3 minutes 56 seconds, LPCM mono Mandarin with removable English subtitles), a Hong Kong  theatrical trailer (3 minutes 56 seconds, LPCM mono Cantonese with removable English subtitles), a German theatrical trailer (3 minutes 30 seconds, LPCM mono German with removable English subtitles), a U.S. theatrical trailer #1 (3 minutes 15 seconds, LPCM mono English, no subtitles), a U.S. theatrical trailer #2 (3 minutes 10 seconds, LPCM mono English, no subtitles), 5 U.S. TV spots (2 minutes 40 seconds, LPCM mono English, no subtitles), 2 U.S. radio spots (57 seconds, LPCM mono English, no subtitles), an interview with actor Bruce Le titled Shaws' Little Dragon (24 minutes 36 seconds, LPCM stereo Cantonese with non-removable English subtitles), a video essay on Shaws' tokusatsu films by Steven Sloss titled Super Ultra Infra Action! (13 minutes 13 seconds, LPCM stereo English, no subtitles), an audio commentary with martial arts cinema experts Frank Djeng and Erik Ko, and the U.S. theatrical version of Super Inframan (89 minutes 55 seconds, 2.35:1 aspect ratio, DTS-HD "Stereo-Infra-Sound" English with removable English SDH.

Extras for Oily Maniac include an audio commentary with film critic Ian Jane.

Extras for The Battle Wizard include an audio commentary with Jonathan Clements, author of A Brief History of the Martial Arts.

Extras for Black Magic include an audio commentary with film critic James Mudge.

Extras for Black Magic 2 include an alternate US opening (1 minute 59 seconds, Dolby Digital mono English, no subtitles) and an audio commentary with film critic Samm Deighan.

Extras for Bewitched include an audio commentary with film critic James Mudge.

Extras for Hex After Hex include an additional Mandarin voiceover clip (44 seconds, LPCM mono Mandarin with removable English subtitles).

Extras for Bat Without Wings include an audio commentary with Samm Deighan.

Extras for Bloody Parrot include an audio commentary with Samm Deighan.

Extras for the Demon of the Lute include an audio commentary with martial arts cinema expert Frank Djeng.

Extras for Seeding of a Ghost include an audio commentary with James Mudge.

Extras for Twinkle Twinkle Little Star include a theatrical trailer (3 minutes 38 seconds, Dolby Digital mono Cantonese with removable English subtitles), a theatrical trailer (3 minutes 38 seconds, Dolby Digital mono Mandarin with removable English subtitles), an appreciation by film scholar Victor Fan (25 minutes 4 seconds, Dolby Digital stereo English, no subtitles), an interview with director Alex Cheung (34 minutes 20 seconds, LPCM stereo Cantonese with removable English subtitles), and an audio commentary with Frank Djeng.

Extras on an additional Blu-ray disc include a French TV program titled Hong Kong: The Show of Mister Shaw (13 minutes 10 seconds, Dolby Digital mono French and Mandarin with removable English subtitles), a video essay by Grady Hendrix titled The Movie Maniac: The Legacy of Ho Meng-hua (14 minutes 27 seconds, Dolby Digital stereo English, no subtitles), and critical appreciations: Leon Hunt and Luke White on Super Inframan (21 minutes 33 seconds, Dolby Digital stereo English, no subtitles), Kim Newman on Super Inframan (21 minutes 59 seconds, Dolby Digital stereo English, no subtitles), Victor Fan on Battle Wizard (17 minutes 53 seconds, Dolby Digital stereo English, no subtitles), Wayne Wong on Bat Without Wings (12 minutes 48 seconds, Dolby Digital stereo English, no subtitles), Luke White on Demon of the Lute (21 minutes 37 seconds, Dolby Digtal stereo English, no subtitles), Victor Fan on Demon of the Lute (23 minutes 28 seconds, Dolby Digital stereo English, no subtitles), and a trailer gallery.

Trailers in the gallery are a Hong Kong theatrical trailer for Oily Maniac (3 minutes 46 seconds, Dolby Digital mono Mandarin with burnt-in English subtitles), a Hong Kong theatrical trailer for Battle Wizard (3 minutes 34 seconds, Dolby Digital mono Mandarin with burnt-in English subtitles), a Hong Kong theatrical trailer for Battle Wizard (3 minutes 34 seconds, Dolby Digital mono English, no subtitles), a German theatrical trailer for Battle Wizard (2 minutes 54 seconds, Dolby Digital mono German with removable English subtitles), a Hong Kong theatrical trailer for Black Magic (3 minutes 51 seconds, Dolby Digital mono Mandarin with burnt-in English subtitles), a German theatrical trailer for Black Magic (3 minutes 21 seconds, Dolby Digital mono German with removable English subtitles), a US TV spot for Black Magic (32 seconds, Dolby Digital mono English, no subtitles), a Hong Kong theatrical trailer for Black Magic 2 (3 minutes 26 seconds, Dolby Digital mono Mandarin with burnt-in English subtitles), a Hong Kong theatrical trailer for Black Magic 2 (3 minutes 26 seconds, Dolby Digital mono English, no subtitles), a US theatrical trailer for Black Magic 2 (2 minutes 44 seconds, Dolby Digital mono English, no subtitles), a Hong Kong theatrical trailer for Bewitched (3 minutes 29 seconds, Dolby Digital mono Cantonese with removable English subtitles), a Hong Kong theatrical trailer for Bewitched (2 minutes 55 seconds, Dolby Digital mono Mandarin with removable English subtitles), a Hong Kong theatrical trailer for Hex (1 minute 49 seconds, Dolby Digital mono Cantonese with removable English subtitles), a Hong Kong theatrical trailer for Hex vs. Witchcraft (4 minutes 3 seconds, Dolby Digital mono Cantonese with burnt-in English subtitles), a Hong Kong theatrical trailer for Hex After Hex (4 minutes 42 seconds, Dolby Digital mono Cantonese with removable English subtitles), a Hong Kong theatrical trailer for Hex After Hex (3 minutes 22 seconds, Dolby Digital mono Mandarin, no subtitles), a Hong Kong theatrical trailer for Bat Without Wings (3 minutes 29 seconds, Dolby Digital mono Cantonese with burnt-in English subtitles), a Hong Kong theatrical trailer for Bloody Parrot  (2 minutes 51 seconds, Dolby Digital mono Cantonese with burnt-in English subtitles), a Hong Kong theatrical trailer for The Fake Ghost Catchers (3 minutes 17 seconds, Dolby Digital mono Cantonese with removable English subtitles), a Hong Kong theatrical trailer for Demon of the Lute (4 minutes 44 seconds, Dolby Digital mono Cantonese with removable English subtitles), a Hong Kong theatrical trailer for Seeding of a Ghost (2 minutes 11 seconds, Dolby Digital mono Cantonese, no subtitles), a Hong Kong theatrical trailer for Seeding of a Ghost (2 minutes 54 seconds, Dolby Digital mono Cantonese with removable English subtitles), a Hong Kong theatrical trailer for Seeding of a Ghost (2 minutes 54 seconds, Dolby Digital mono Mandarin with removable English subtitles), and a Hong Kong theatrical trailer for Portrait in Crystal (2 minutes 23 seconds, Dolby Digital mono Cantonese with removable English subtitles).

Other extras include a 60-page book with an essay titled Strange Tales from a Chinese Screen written by David West, cast & crew notes for each film written by Ian Jane, an essay titled The Japanese Connection written by Jonathan Clements, an essay titled The End of an Empire written by Grady Hendrix, and information about the transfers.

Summary:

Super Inframan: Hua Shan directed Super Inframan. He’s known for The Brothers, Bloody Parrot, Portrait in Crystal, and Disciples of Shaolin Temple.

An evil princess named Dragon Mom unleashes mutant monsters upon the people of Earth, causing chaos and destruction. Earth’s only hope for survival is left in the hands of its greatest minds that have created a being simply known as Inframan. Now that the playing field has been leveled, will Princess Dragon Mom and her minions be able to stop Inframan?

Super Inframan was Hong Kong’s first sci-fi film; it is also a film that heavily borrows from Kaiju Eiga. While Super Inframan ventures into areas Shaw Brothers and Hong Kong cinema at that point had not, it does feature familiar elements: martial arts and offbeat humor. That said, what unfolds is a crazy melting pot of genres that could have only come from Hong Kong.

There is a lot of Japanese talent who worked on Super Inframan, and their involvement gives the special effects a more polished look than other Hong Kong sci-fi films that followed. When it comes to the creature designs, the filmmakers made them primitive, while the production team created outrageous-looking costumes and sets. The filmmakers cobbled the hero of this film, Super Inframan, from several Japanese superhero characters as a Frankenstein-like creation.

Danny Lee (The Killer), who is most known for portraying cops, is cast in the role of the protagonist. Although Danny Lee had been working for Shaw Brothers for a few years, Super Inframan was an early leading man role for him. He delivers a strong performance that more than fulfills the role of the hero. The most memorable performance is Terry Liu's (The Bamboo House of Dolls) delirious portrayal of Demon Princess Elzebub. Her character has a very stylish lair, and her diverse and colorful array of villain henchmen populate it. When it comes to the performances, the cast gets an A+ for enthusiasm. 

The narrative moves along quickly as we move from one attack to the next. While the narrative may be outlandish and not fully developed, it remains an engaging romp that is sure to keep you on the edge of your seat. To director Hua Shan’s credit, he manages to create an atmosphere and mood that exceed the film’s many limitations. The action scenes are expertly crafted, featuring nonstop, exhilarating martial arts battles. Ultimately, Super Inframan is a film focused on enjoyment, which highlights its greatest strength.

The Battle Wizard: Pao Hsueh-li directed The Battle Wizard. He’s known for Boxer from Shantung and Water Margin. The Battle Wizard was adapted from Jin Yong’s novel Demi-Gods and Semi-Devils.

Duan Yu, an aristocrat’s son, does not grasp the importance of spending hours learning Kung Fu. Duan Yu embarks on a spiritual journey, during which he meets a young woman who shares a fascinating tale about a giant python. She explains that drinking its blood can grant someone instant mastery in martial arts. All is not well at home, as one of Duan Yu’s father’s nemeses, a cripple who now needs stilts to walk, is preparing to exact his revenge.

The Battle Wizard is firmly rooted in revenge; its narrative begins with an act of betrayal when a woman having an affair bears another man’s child. When the husband returns, he loses his legs in a fight with his wife's lover. These events lay the groundwork for a revenge plot where the children of those involved unknowingly become pawns 20 years later.

Although The Battle Wizard has all of the elements one would expect from a Wuxia film, it's a fairly standard revenge theme that is all too familiar in martial arts cinema. The Battle Wizard’s most endurable asset is its cast of colorful characters and their array of unusual weapons: a disfigured giant with a detachable claw, a young woman who throws snakes, which burrow into her victims flesh and fingertips that shoot laser beams.

Danny Lee (City on Fire) is cast in the role of Duan Yu. He delivers an excellent performance in which his character shows a tremendous amount of growth. The most memorable performance is Lin Chen-Chi (Haunted Tales) in the role of Zhong Ling-erh. Her character attacks her opponents with snakes that burrow into their flesh. That said, the rest of the cast's performances are serviceable.

The Battle Wizard’s 80-minute running time is deceptive; it feels longer than it is. Fortunately, pacing is never an issue, as things move briskly and its outlandish plot is full of surprises. The visuals are inventive, the fight sequences are well-crafted, and when it comes to fantastical elements, that is an area where The Battle Wizard really excels. Ultimately, The Battle Wizard is a highly entertaining film and the Shaw Brothers at their craziest.

The Oily Maniac: Ho Meng Hua directed The Oily Maniac. He’s known for The Cave of the Silken Web, The Lady Hermit, The Kiss of Death, Black Magic, Black Magic 2, and The Vengeful Beauty.

A cripple that works for a corrupt lawyer gains the ability to transform an oily monster that exacts revenge against criminals.

While Shaw Brothers from this period were mostly known for their Wuxia films, by the mid-1970s they started to lean into horror and exploitation cinema. Ho Meng Hua was at the forefront of these films, and he delivered some of Shaw Brothers' most memorable horror films. The Oily Maniac is a loose remake of a Singapore horror film, Sumpah Orang Minyak, which is based on Malaysian folklore.

The opening setup does a phenomenal job laying the foundation for the story that unfolds. The narrative revolves around a cripple named Shen Yaun whose father was a sorcerer and on his uncle's back is a talisman that gives him the power to transform into the oily monster. That said, after the initial setup, the narrative falls into a stalk-and-kill scenario that becomes predictable, which undermines the impact of the finale.

Although the performances work well within the confines of the premise, no one stands out more than any other. Notable cast members are Danny Lee (Bruce Lee and I) in the role of the protagonist Shen Yaun, Lily Li (The Magic Blade) in the role of Shen Yaun’s love interest, and Ku Feng (The Heroic One) in the role of a crime boss.

The real star of The Oily Maniac is the blobby oil-covered monster, which looks imposing. While the special effects look crude by today's standards, they actually hold up better than most low-budget horror films. Like many Shaw Brothers films from this era, The Oily Maniac embraces exploitation elements, including nudity and sexual themes. If the score gives you déjà vu, that’s because its main music cue is lifted from Psycho. Ultimately, The Oily Maniac is an entertaining monster film about a vigilante avenger.

Black Magic: Ho Meng Hua directed Black Magic. He’s known for The Cave of the Silken Web, The Lady Hermit, The Kiss of Death, The Oily Maniac, Black Magic 2, and The Vengeful Beauty.

When an engaged man refuses his wealthy boss’ sexual advances, she hires a shaman to make her a love potion. Another man, who desires the wealthy boss, complicates matters further by using black magic to win her over.

Although the events that unfold lean into melodrama, Black Magic is a film that firmly fits into the horror genre because of its supernatural elements. While desire is a central theme, Black Magic also deals with good versus evil; there are two shamans, one good and the other evil. When it comes to the supernatural elements, specifically black magic, the film really excels.

The opening setup does a superb job laying the foundation for what follows; unfortunately, the narrative is not without its shortcomings. There are a few times where things tend to drag, which disrupts any momentum. Fortunately, the positives far outweigh the negatives.

All around, the cast are excellent in the roles, especially Ku Feng (Martial Club), who portrays an evil shaman. Where most villains in his position desire wealth and power, he only asks for sexual favors from his female clients. Other performances of note are Tien Lie (Corpse Mania) in the role of a wealthy businesswoman and Lo Lieh (King Boxer), who portrays one of her unwanted suitors. Both of these characters dabble with black magic and it comes back to bite them in the ass. Other cast members of note are Ti Lung (A Better Tomorrow) and Lily Li (The Heroic Ones).

Ho Meng Hua was one of a handful of directors working for the Shaw Borthers who really excelled at horror and exploitation films. His direction is solid; the visuals are overflowing with a foreboding atmosphere. The score, which features a music cue from Psycho, is very effective at elevating the mood. The special effects hold up really well for practical effects. Ultimately, while the Shaw Brothers are most remembered for their martial arts films, Black Magic is a perfect example of their ability to craft horror and exploitation films.

Black Magic 2: Ho Meng Hua directed Black Magic 2. He’s known for The Cave of the Silken Web, The Lady Hermit, The Kiss of Death, The Oily Maniac, Black Magic, and The Vengeful Beauty.

A deadly disease outbreak is linked to an evil sorcerer who’s assembled an army of zombies.

When a film is successful, there are bound to be sequels and imitators. Despite having the same director and core cast as its predecessor, Black Magic 2 is a sequel in name only. Where Black Magic was a story about unrequited love, Black Magic 2 is a film about personal gain and survival.

Black Magic 2 dives in headfirst with a wild opening where crocodiles attack women swimming topless. The narrative does an excellent job drawing you in and holding your attention as it briskly moves from one absurd moment to the next. That said, what the narrative lacks in exposition, it more than makes up for with its heaping helpings of nudity and gore.

The core cast—Tien Lie (The Golden Lotus), Lo Lieh (On the Run), Ti Lung (Drunken Master II), and Lily Li (The Young Master)—all return, albeit in different roles. The cast all deliver enchanting performances that embrace the craziness unfolding onscreen. The most memorable performance is Lo Lieh’s portrayal of an evil scorcerer who retains his youth by drinking milk from women’s breasts and he even impregnates a woman with a demon fetus.

On paper, Black Magic 2 should not have worked as well as it does. Its narrative is weaker than its predecessor, and yet, the result is a more entertaining film. There are a lot of outrageous moments in Black Magic 2 and none stand out more than a martial arts scene with zombies. While Hong Kong films are known for having uncredited music cues, a music cue from Black Magic 2 would later be sampled by the Beastie Boys for Looking Down the Barrel of a Gun. Ultimately, Black Magic 2 is a solid sequel despite going against almost everything that made its predecessor successful.

Hex: Kuei Chih-Hung directed Hex. He’s known for The Lady Professional, The Bamboo House of Dolls, The Killer Snakes, Killer Constable, Corpse Mania, and The Boxer’s Omen.

A sickly woman, with the help of her maid, kills her abusive husband, who then returns as a vengeful ghost.

More than any filmmaker, Kuei Chih-Hung was the Shaw Brothers' go-to director for horror and exploitation films. Although Hex is another Shaw Brothers horror film rooted in the supernatural, it has many elements similar to Les diaboliques. That said, the supernatural elements really take over after the wife dies from fright and returns as a ghost.

Hex is a film that requires some patience; the opening 32 minutes are drama-driven and offer little in the way of surprises. It is not until the horror elements kick in that things pick up. From there, the last hour does a superb job holding your attention from one tense moment to the next, building to an exemplary finale, a 15-minute exorcism sequence that culminates with one last surprise.

The three leads are excellent in their roles, especially Tien Ni (A Queen’s Ransom) as the sickly wife. Wang Jung (Bat Without Wings) and Chen Szu-Chia (The 36th Chamber of Shaloin) are equally outstanding in the roles of husband and maid, who are having an affair.

By the 1980s, the Shaw Brothers made a shift away from martial arts to horror and exploitation films that leaned into carnage and salacious content. Hex does not have much in the way of onscreen carnage; instead, it really relies on jump scares. Ultimately, Hex is a well-crafted supernatural horror film that’s overflowing with obsequious atmosphere, making it one of the Shaw Brothers' high-water marks of the 1980s.

Bewitched: Kuei Chih-Hung directed Bewitched. He’s known for The Lady Professional, The Bamboo House of Dolls, The Killer Snakes, Killer Constable, Corpse Mania, and The Boxer’s Omen.

A sorcerer targets a police investigator who is tracking down a man wanted for murdering his daughter.

Bewitched is a direct kind of police procedural film; it heavily incorporates supernatural elements, particularly through characters being possessed by a sorcerer. That said, despite being labelled a horror film, Hex is yet another Hong Kong film that effectively blends multiple genres. When it comes to exploitation elements, they far outweigh horror elements; Hex has more nudity than carnage. 

The opening setup does a phenomenal job grabbing your attention. The well-executed narrative is very effective at creating tense moments that build momentum to a climatic battle of good versus evil. Another strength of the narrative is how it uses flashbacks to flesh out characters.

While the acting does not deliver any performance that stands out, this is not an issue since Kuei Chih-Hung's direction is the real star. The visuals are overflowing with atmosphere and there are several striking moments that greatly heighten the mood. When it comes to the special effects, they hold up better than most Hong Kong films from this era. Hex, like so many Hong Kong films, has uncredited music cues and sound effects, from Flash Gordon and Phantasm. Ultimately, Bewitched is a perfect blend of horror and exploitation that fans of Hong Kong’s black magic-themed films should thoroughly enjoy.

Hex vs. Witchcraft: Kuei Chih-Hung directed Hex vs. Witchcraft. He’s known for The Lady Professional, The Bamboo House of Dolls, The Killer Snakes, Killer Constable, Corpse Mania, and The Boxer’s Omen.

A compulsive gambler is overcome with guilt after pimping out and tries to kill himself. When he fails to kill himself, he’s visited by a mysterious old man looking for someone to marry his daughter; there is a problem: she’s a ghost. The old man promises riches to the man who can make his daughter content, hoping to lure him into marriage.

Hex vs. Witchcraft is a sequel in name only to Hex, a film also directed by Kuei Chih-Hung. Hex and Hex vs. Witchcraft have unconnected story lines and have no overlap when it comes to characters. Furthermore, where Hex was a film that firmly fit into the horror genre, Hex vs. Witchcraft is a textbook example of Hong Kong genre blending: horror, humor, and sexually themed scenarios.

Although Hex vs. Witchcraft employs elements of supernatural horror, the result is a film that's closer to comedy than horror. Most of the humor comes from outrageous situations that are usually sexual. The ghost that marries the protagonist inhabits the bodies of living beautiful women so they can have sex with their husband. That said, when it comes to the humor, most of it hits the mark, while some of it fails miserably.

While the cast are very good in their roles, it is James Yi Lui’s (My Darling Genie) portrayal of a gambling-addicted protagonist that steals the show. Hex vs. Witchcraft was a breakout film for James Yi Lui, after two decades of minor roles. Another performance of note is Cheung Miu-Lin in the role of the ghost bride. Hex vs. Witchcraft would mark the third and final film she appeared in.

Besides humor and supernatural horror, another key component of Hex vs. Witchcraft is its use of exploitation elements, notably nudity, the most memorable moment being a soapy shower scene. At 101 minutes in length, the narrative has several lulls that stop momentum. That said, there are ample moments that could have been trimmed to make things move at a better pace. Ultimately, Hex vs. Witchcraft is a silly farce that checks too many boxes with mixed results.

Hex After Hex: Kuei Chih-Hung directed Hex After Hex. He’s known for The Lady Professional, The Bamboo House of Dolls, The Killer Snakes, Killer Constable, Corpse Mania, and The Boxer’s Omen.

A mysterious old man visits an impoverished man, offering him wealth if he marries his ghost daughter.

Hex After Hex picks up right where Hex vs. Witchcraft left off. Hex After Hex’s opening scene ties in with a moment that ends Hex vs. Witchcraft by introducing its predecessor's protagonist. That said, while many of the characters have changed, the scenario is just a revised version of Hex vs. Witchcraft.

With each new film in the Hex series, it leans more into humor and drifts away from horror elements. The humor throughout Hex After Hex is a combination of funny dialogue and situations that lend themselves to comedy. Hex After Hex's humor knows no boundaries, the protagonist has a blow-up doll, there are a few pop culture references like Darth Vader and Yoda, and lightsabers are used to remove clothing.

The cast excels in their roles, and their enthusiasm is infectious. The most memorable performance is Liu Lan-Hsi in the role of the ghost bride. Her character is used as an agent of revenge and the majority of the funniest moments revolve around her putting bad people in their places. Another performance of note is Lo Meng (Five Element Ninjas), who portrays a protagonist who becomes involved with a ghost.

What starts off as a story about a man who marries a ghost to solve his financial problems and loneliness evolves into a story about revenge. The latter half of the narrative shifts the focus to the ghost bride and her backstory. Where its predecessor’s narrative struggled with momentum, that is not an issue with Hex After Hex as things move quickly from one outrageous moment to the next. Ultimately, Hex After Hex is a highly entertaining farce that’s overflowing with absurd humor.

Bat Without Wings: Chor Yuen directed Bat Without Wings. He’s known for Intimate Confessions of a Chinese Courtesan, Sacred Knives of Vengeance, Killer Clans, The Magic Blade, and Clans of Intrigue.

A master swordsman is tasked with hunting down a notorious martial artist nicknamed the Bat Without Wings. The true identity of the Bat Without Wings is not known because they wear makeup. Although people believed The Bat Without Wings had died five years before, someone who looks and fights like him has resurfaced.

Bat Without Wings is a wuxia film that effectively blends horror elements. The premise is a textbook example of a good versus evil scenario where a hero character sets out to take down a formidable foe. The villain of the film, Bat Without Wings, is a ruthless killer who has eliminated 26 of the 28 master swordsmen sent after him. Only two individuals can identify him, and there is an unknown assailant attempting to eliminate them.

While many critics argue that martial arts films, particularly those produced by the Shaw Brothers in the 1980s, tend to follow a formulaic structure, most martial arts fans find that it is not the plot but the characters that truly capture their interest. Where most martial arts films are driven by their hero characters, there is something special about a villain who outshines them. Case in point, Bat Without Wings, whose striking makeup and attire are further enhanced by their reprehensible behavior.

All around, the cast are excellent in the roles, especially Ku Feng's (Black Magic) portrayal of Bat Without Wings. He made a career out of portraying villains and with Bat Without Wings, he delivers what is arguably his best. Another performance of note is Derek Yee (Death Duel) in the role of a master swordsman who’s tasked with taking down Bat Without Wings.

The opening setup does a phenomenal job drawing you in, and the narrative moves briskly as it builds to an exemplary finale. When it comes to the fight scenes, they never disappoint, and at times they are very bloody. An area where Bat Without Wings excels is the weapons its characters use, notably a twin blade. Ultimately, Bat Without Wings is a very satisfying blend of action, melodrama, and the unusual.

Bloody Parrot: Hua Shan directed Bloody Parrot. He’s known for To Kill a Jaguar, Dynamo, The Brothers, and Portrait in Crystal.

Demons and ghosts celebrate the 100th anniversary of the Divine demon by creating a bloody parrot that grants three wishes.

Bloody Parrot is an example of the Shaw Brothers blending familiar elements, martial arts and fantasy staples with exploitation elements. While the Shaw Brothers' rivals, notably Golden Harvest and Cinema City, successfully adapted to the changing cinema landscape of the 1980s in most of the Shaw Brothers' early 1980s films, they never figured out a formula that worked for them. Nonetheless, the "anything goes" mentality present in most of the Shaw Brothers' early 1980s films contributes significantly to their entertainment value.

The premise, an object that grants someone three wishes, is full of possibilities. While one of the things that the Bloody Parrot can do is bring the dead back to life, sometimes such wishes can be a blessing or curse. The narrative always engages, and there is a satisfying balance of action and exposition as it builds to a twist ending where someone believed dead is really alive.

Although the performances work well within the story that unfolds, only one stands out: Jenny Liang, whose character spends most of her time nude or barely covered. That said, Bloody Parrot is filled with an array of colorful characters like demons, witches, a vampire, and a character who makes clothing out of human flesh. The action sequences are solid and filled with the inventiveness that one has come to expect from the Shaw Brothers. Bloody Parrot continues the trend of uncredited use of music cues and sound effects; it uses a sound effect from Flash Gordon. Ultimately, Bloody Parrot is one of the better examples of the Shaw Brothers trying something new and delivering a highly entertaining film.

The Fake Ghost Catchers: Lau Kar-Wing directed The Fake Ghost Catchers. He’s known for He Has Nothing But Kung Fu, Odd Couple, and The Treasure Hunters.

A love-sick man who killed himself comes back as a vengeful ghost.

The Fake Ghost Catchers sees the Shaw Brothers trying to capitalize on the success of Encounter of the Spooky Kind. The narrative revolves around three men who pose as ghost catchers. The comedy comes from the fact that they are really scam artists and not ghost catchers. That said, they are not the only fraud; another character is a medium.

Any supernatural horror film about ghosts would not be complete without black magic, gambling, a ghost bride who travels in an umbrella, and a hopping vampire. Although the narrative is disjointed and lacks focus, there is never a dull moment as it propels to a very satisfying payoff. When it comes to humor, this is an area where The Fake Ghost Catchers rarely misses the mark.

All around, the cast are excellent, especially the three leads, Alexander Fu Sheng (The Brave Archer), Hsiao Ho (My Young Auntie), and Cheung Chin-Pang (The Eight Diagram Pole Fighter). They have strong onscreen chemistry, which makes the scenarios they find themselves in all the more enjoyable. The most surprising of these three performances is Alexander Fu Sheng, who gets to showcase his comedic skills.

The Fake Ghost Catchers is a solid example of a Hong Kong film that effectively blends genres: horror and comedy. While there is some action and impressive stuntwork, The Fake Ghost Catchers is surprisingly light when it comes to martial arts. The most notable absence when it comes to action-related moments is Alexander Fu Sheng’s lack of participation. The Fake Ghost Catchers’ score has uncredited music from Phantasm and Doctor Who. Ultimately, The Fake Ghost Catchers is an entertaining Hong Kong supernatural horror film that fans of this genre will get the most out of.

Demon of the Lute: Tang Tak-Cheung directed Demon of the Lute. He only directed one other film Long Road to Gallantry.

A demon lute is wreaking havoc and a hero is tasked with retrieving a special bow that can defeat the demon.

Demon of the Lute is a wuxia/horror hybrid film that relies heavily on action. While light on exposition, the narrative is still effective at moving things forward. Despite its narratives' shortcomings, it does a great job sustaining momentum as it builds to an epic battle finale.

The action sequences and weapons characters use are the main attraction of Demon of the Lute; the most notable is a bow with a fire arrow. Besides the demon lute, other villains are a one-eyed dragon and characters whose beards and appendages grow in unusual ways. When it comes to the performances, it's not hard to get caught up in the cast's enthusiasm. It is not surprising that this fantasy film is special effects heavy; unfortunately, most of the effects have not aged well. Ultimately, Demon of the Lute is a film that works so well because of its inventiveness and anything-goes attitude.

Seeding of a Ghost: Chuan Yang directed Seeding of a Ghost. He’s known for The Image of Bruce Lee, Hell Has No Boundary, and The Revenge of Angel.

A sorcerer curses a taxi driver after the taxi driver accidentally hits him with his car. After his wife is raped and killed, the taxi driver begs the sorcerer to bring her back to life. Although the sorcerer grants his wish, she comes back as a vengeful zombie.

Seeding of a Ghost is a precursor to the type of films that lead to the Cat III classification. Seeding of a Ghost is another excellent example of Hong Kong cinema blending genres: horror and crime drama. There are many body horror elements in Seeding of a Ghost.

The opening setup is brutal and it does a phenomenal job setting the tone. From there, the narrative does an effective job creating tense moments and sustaining a relentless momentum as it builds to its finale. The narrative is filled with unexpected twists, including a spirit's impregnation of a corpse and an explosive birth sequence that’s reminiscent of Alien.

The most surprising aspect of Seeding of a Ghost is its stuntwork. That said, when discussing outstanding stuntwork, one typically thinks of martial arts films rather than horror films. The moments of carnage in the film are not only gruesome but also exceed expectations. The special effects hold up incredibly well for practical effects. Ultimately, Seeding of a Ghost is an exemplary revenge-themed supernatural horror film that has not lost any of its ability to shock.

Portrait in Crystal: Hua Shan directed Portrait in Crystal. He’s known for To Kill a Jaguar, Dynamo, The Brothers, and Bloody Parrot.

The only link to several killings in the martial arts world is a woman made of crystal.

As the 1980s progressed, the Shaw Brothers' horror and fantasy films became more outlandish. Case in point, Portrait in Crystal, a film where the agent of revenge is a crystal statue that is brought to life after human blood comes into contact with it. Besides horror elements, Portrait in Crystal fits firmly into the wuxia, the genre that defines the cinema of the Shaw Brothers more than any other.

While no performance stands out, none of them are lacking. The main attraction is action sequences, which are inventive and feature some impressive stuntwork. When it comes to the carnage, it is sufficiently gruesome. That said, Portrait in Crystal’s weakest link is its use of humor, which often falls flat.

At 83 minutes in length, the narrative is concise; it never overstays its welcome. A strength of the narrative is how well it balances action and exposition. There are no issues with pacing as things effectively build to an exceptional showdown finale. Portrait in Crystal’s score has an uncredited music cue from Phantasm. Ultimately, Portrait in Crystal’s positives far outweigh its negatives, making for a highly entertaining film.

Twinkle Twinkle Little Star: Alex Cheung directed Twinkle Twinkle Little Star. He’s known for Cops and Robbers and Man on the Brink.

A second-rate private eye exploits a woman’s UFO abduction to gain him notoriety.

At this point in their history, the Shaw Brothers brand was no longer in vogue, and their willingness to think outside of the box increased by the mid-1980s. While Twinkle Twinkle Little Star incorporates elements of horror and fantasy, it primarily serves as a parody film filled with numerous pop culture references. The most notable of these references are Close Encounters of the Third Kind, Star Wars, and The Seven Year Itch.

When it comes to the humor, it is exaggerated and then some. Not only are sight gags employed, but clever dialogue plays a role in the humor. While James Yi Lui (Hex vs. Witchcraft) plays the protagonist, a second-rate private eye, Cherie Chung’s (Once a Thief) portrayal of a woman abducted by aliens steals the show. Cherie Chung’s character, who is quite unlucky, serves as the source of many of the funniest moments.

While the narrative has structure and moves in a linear way, it has little in the way of fleshing characters. The narrative quirks in Twinkle Twinkle Little Star ultimately work to its advantage, as the humor is so robust that it allows viewers to overlook its shortcomings. That said, the narrative is best summed up as a series of humorous setpieces. Ultimately, Twinkle Twinkle Little Star is arguably the most unusual film that the Shaw Brothers made.

Arrow Video’s Shawscope Volume Four box set is in line with its predecessors. It comes in a sturdy box, each film is given solid audio and video presentations, and there is a wealth of archival and newly created extras that provide insight into the films and those who made them. That said, Arrow Video’s Shawscope Volume Four box set is an exceptional release, and one would be hard pressed to name a better release than Shawscope Volume Three from 2025. Highly recommended.

Written by Michael Den Boer