Saga of the Phoenix: Deluxe Collectors Edition – 88 Films (Blu-ray)

Theatrical Release Date: Hong Kong, 1989
Directors: Lam Ngai Choi, Lau Sze-Yue
Writers: Chan Sau-Ling, Wong Chui-Wa, Leung Yiu-Ming
Cast: Yuen Biao, Gloria Yip, Hiroshi Abe, Loletta Lee, Lau Sek-Yin, Shintarô Katsu

Release Date: December 15th, 2025 (UK), December 16th, 2025 (USA)
Approximate Running Time: 94 Minutes 8 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Cantonese
Subtitles: English
Region Coding: Region A,B
Retail Price: £25.00 (UK), $49.95 (USA)

"When an ancient evil stirs once more, monks Peacock (Yuen Biao) and Lucky Fruit (Hiroshi Mikami) are called back into action to confront a new supernatural threat. This time their quest draws them to Hong Kong, where they must protect the innocent and face an unholy alliance of demons and dark sorcery. Alongside them is Ashura (Gloria Yip), still torn between her human heart and her fated link to the underworld, as her powers become the key to either salvation or destruction." - synopsis provided by the distributor

Video: 4/5

Here’s the information given about the transfer, "High Definition Blu-Ray Presentation in 1.85:1 Aspect Ratio".

Saga of the Phoenix comes on a 50 GB dual layer Blu-ray.

Disc Size: 37 GB

Feature: 25.4 GB

Although this transfer is comparable to 88 Films' Peacock King release, there are a few times where it is not as strong. Flesh tones and colors look correct, image clarity and black levels are strong, compression is solid, and there are no issues with digital noise reduction.

Audio: 4/5

This release comes with one audio option, a LPCM mono mix in Cantonese with removable English subtitles. The audio sounds clean; dialogue always comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include an image gallery with music playing in the background (Japanese Press Book/Stills/Posters), a theatrical trailer (3 minutes 38 seconds, Dolby Digital mono Cantonese with removable English subtitles), alternate Japanese footage (11 minutes 58 seconds, Dolby Digital mono Japanese with removable English subtitles), an interview with Albert Lee titled Saga of Golden Harvest - The International Connection, in which he discusses Golden Harvest’s strategy of distribution overseas (22 minutes 16 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with HK cinema experts Frank Djeng and F.J. DeSanto, reversible cover art, a collectable postcard, an O-ring and rigid slipcase, and a 40-page perfect-bound book with cast & crew information, an essay titled From Panel to Screen: The Saga of Hong Kong’s Fascination with Japanese Manga written by Andrew Heskins, and an essay titled The Japanese Connection: Positioning Saga of the Phoenix in a Brief History of the Cultural and Cinematic Exchanges of Hong Kong and Japan written by David West.

Summary:

Peacock King was co-directed by Lam Ngai Choi, whose other notable films include The Seventh Curse, Her Vengeance, Riki-Oh: The Story of Ricky, Erotic Ghost Story, and The Cat. Peacock King is an adaptation of Makoto Ogino’s manga of the same name. Saga of the Phoenix is a sequel to Peacock King; both films were adapted from mangas written by Makoto Ogino.

Two Buddhist monks must protect Ashura, the Holy Maiden of Hell, to prevent the wrong hands from claiming her while she spends 7 days in the human realm.

Cinema has a long tradition of sequels, but subsequent films rarely surpass or even match their predecessor. Case in point: Saga of the Phoenix, a film that feels more like a rehash of Peacock King than its sequel. Another thing that sets Saga of the Phoenix apart from Peacock King is how its tone greatly differs.

Anyone familiar with the cinema of Lam Ngai Choi knows that most of his fantasy and horror films are very dark in tone. While he’s credited as co-director of Saga of the Phoenix, it just does not have the vibe one expects from him, and I suspect his involvement is mostly linked to the special effects moments and action set pieces. That said, Saga of the Phoenix feels like a kids' film, while Peacock King is a dark fantasy film.

Although the three central characters from Peacock King return for Saga of the Phoenix, only two of the actors reprise their roles: Yuen Biao in the role of Peacock King (The Prodigal Son) and Gloria Yip (The Blue Jean Monster) in the role of Ashura. In the case of the latter, his role in Saga of the Phoenix is relatively minor. Hiroshi Abe (Survive Style 5+) replaces Hiroshi Mikami (Parasite Eve) in the role of a Buddhist monk named Lucky Fruit. Another notable cast member is Shintarô Katsu, known for his role in The Tale of Zatoichi, who plays an abbot named Jiku Ajari.

There are too many areas where Saga of the Phoenix falls short. Its premise is too much like its Peacock King; the narrative is predictable, and when it comes to pacing, things tend to drag. The fight sequences and stunt work are not as impressive as in Peacock King; it's some of the most unimaginative I’ve seen for a film in which Yuen Biao appears. That said, the best moments are the ones that are special-effects-heavy. Ultimately, Saga of the Phoenix is a major letdown that does not come close to matching the magic of Peacock King.

Saga of the Phoenix gets an exceptional release from 88 Films that comes with a strong audio/video presentation and informative extras.

Written by Michael Den Boer

Peacock King: Deluxe Collector's Edition – 88 Films (Blu-ray)

Theatrical Release Date: Hong Kong, 1989
Director: Lam Ngai Choi
Writers: Frank Kong Heung-Sang, Shirley Woo Suet-Lai, Edward Tang Ging-Sang
Cast: Yuen Biao, Gloria Yip, Pauline Wong, Hiroshi Mikami, Narumi Yasuda, Ken Ogata, Eddy Ko, Chia-Hui Liu (Gordon Liu), Phillip Kwok Chun-Fung

Release Date: October 27th, 2025
Approximate Running Time: 84 Minutes 28 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: LPCM Mono Cantonese, DTS-HD 5.1 Cantonese, LPCM Mono English, DTS-HD 5.1 English
Subtitles: English
Region Coding: Region B
Retail Price: £25.00 (UK)

"When demonic forces threaten to unleash the Hell King upon the world, two monks—Peacock (Yuen Biao) from Hong Kong and Lucky Fruit (Mikami Hiroshi) from Japan—join forces to stop the chaos. Their mission centers on Ashura (Gloria Yip), a mysterious girl destined to open the Gates of Hell. Blending explosive martial arts, fantastical creatures, and ancient mythology, The Peacock King delivers a wild ride through sacred temples and neon-lit cities." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information given about the transfer, "High Definition Blu-Ray Presentation in 1.85:1 Aspect Ratio".

Peacock King comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.7 GB

Feature: 27.5 GB

The source is in excellent shape; flesh tones and colors look correct, image clarity and black levels are strong, compression is solid, and there are no issues with digital noise reduction.

Audio: 4.5/5 (LPCM Mono Cantonese), 4.25/5 (DTS-HD 5.1 Cantonese, LPCM Mono English, DTS-HD 5.1 English)

This release comes with four audio options, a LPCM mono mix in Cantonese, a DTS-HD 5.1 mix in Cantonese, a LPCM mono mix in English, and a DTS-HD 5.1 mix in English. All of the audio tracks sound excellent; dialogue always comes through clearly, and everything sounds balanced and robust when it should. That said, the Cantonese mono track sounds more robust than its English-language counterpart. Included are removable English subtitles for the Cantonese language tracks.

Extras:

Extras for this release include an image gallery with music from the film playing in the background (sills/posters/home video art), a theatrical trailer (3 minutes 25 seconds, Dolby Digital mono Cantonese with removable English subtitles), English language closing credits (1 minute 33 seconds, Dolby Digital mono), English language closing credits (3 minutes 28 seconds, Dolby Digital mono), additional footage from the Japanese release (16 minutes 16 seconds, Dolby Digital mono Japanese with removable English subtitles), an archival interview with actor Yuen Biao (12 minutes 32 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an interview with Tony Rayns (21 minutes 39 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with Hong Kong cinema experts Frank Djeng and F.J. DeSanto, reversible cover art, a collectable postcard, an O-ring and rigid slipcase, and a 40-page perfect-bound book with cast & crew information, an essay titled Peacock King and the Crossroads of Cinema written by Fraser Elliott, and an essay titled Manga and Manhua at the Movies written by David West.

Summary:

Peacock King was directed by Lam Ngai Choi, whose other notable films include The Seventh Curse, Her Vengeance, Riki-Oh: The Story of Ricky, Erotic Ghost Story, and The Cat. Peacock King is an adaptation of Makoto Ogino’s manga of the same name. Peacock King would have one film sequel, Saga of the Phoenix, which is also adapted from a story written by Makoto Ogino.

The king of hell is manifesting and he needs only four getaways to open for his return to the earthly realm.

Peacock King is best described as a combination of 1980s bombastic, special-effects-driven fantasy films and a live-action adaptation of a manga that faithfully retains that medium's qualities. While the initial setup effectively introduces key characters, the film is not always straightforward; at times, its convoluted narrative adds too many elements that do not enhance the story.  Despite this, it's not unexpected that the unfolding spectacle overshadows moments of exposition.

The cast of Peacock King, who all deliver enthusiastic performances, is undoubtedly its greatest asset. Yuen Biao (The Prodigal Son) and Hiroshi Mikami are cast in the roles of two heroic monks named Peacock and Lucky Fruit. While Peacock is motivated solely by personal gain, Lucky Fruit represents the complete opposite. Other notable cast members include Eddy Ko (Heroes Shed No Tears), who portrays the two monks' master, and Gordon Liu (The 36th Chamber of Shaolin), who portrays one of the king of hell's minions.

Peacock King’s other asset is Lam Ngai Choi’s exemplary direction; he always excelled when working in the fantasy and horror genres with films that relied heavily on special effects. Besides excelling with special effects extravaganzas, another area where he always delivered is his ability to create tense and visually arresting moments. Although many of the special effects look dated by today's standards, they all hold up well because they work extremely well within the story that's unfolding. Another thing that firmly places Peacock King in the 1980s is its hard rock soundtrack. Ultimately, Peacock King is a highly entertaining film that is a lot of fun, and any of its shortcomings are not difficult to look past.

Peacock King gets an exceptional release from 88 Films that comes with a strong audio/video presentation and informative extras. Highly recommended.

 

Written by Michael Den Boer

Men from the Gutter – Vinegar Syndrome Archive (Blu-ray)

Theatrical Release Date: Hong Kong, 1983
Director: Lam Ngai-Choi
Writers: Tony Leung Hung-Wah, Keith Lee Pak-Ling
Cast: Jason Pai Piao, Wang Jung, Lo Meng, Michael Miu Kiu-Wai, Chan Pui-Sai, Parkman Wong Pak-Man, Billy Lau, Yuen Wah, Yuen Bun

Release Date: October 21st, 2025
Approximate Running Time: 88 Minutes 13 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Cantonese
Subtitles: English
Region Coding: Region A
Retail Price: $44.98

"On the grimy streets of working-class Hong Kong, some merely scheme to get out, and someone has returned to exact savage vengeance. After a cop is killed in cold blood, detectives Qui and Zhou begin tracking a trio of lowly ex-cons plotting a jewel heist. The hoods hope to land a score that'll finally allow them to leave town, while the cops are chasing a corporate kingpin active in the heroin trade. Meanwhile, a steely yet inconspicuous hitman has arrived from Thailand, eager to take out that same kingpin for having crossed him. While chasing down leads from gun dealers and drug pushers, the police repeatedly encounter these various criminals as the desperation mounts. In a race across smoky gambling dens, cheap love hotels, seedy bars, and dingy warehouses, who will make it out of town alive?" - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release’s transfer, "Newly scanned and restored in 2K from its 35mm original negative."

Men from the Gutter comes on a 50 GB dual layer Blu-ray.

Disc Size: 31.1 GB

Feature: 23.9 GB

The source looks excellent; flesh tones look healthy, colors are nicely saturated, and image clarity, black levels, and compression are solid, and the image always looks organic.

Audio: 5/5

This release comes with one audio option, a DTS-HD mono mix in Cantonese with removable English subtitles. Dialogue comes through clearly, everything sounds balanced, and range-wise this audio track sounds excellent.

Extras:

Extras for this release include  a video essay by film historian Erica Shultz titled Jason Pai Piao: Hong Kong Cinema’s Chameleonic Tough Guy (13 minutes 23 seconds, Dolby Digital stereo English, no subtitles), a making-of documentary titled From the Gutter to the Theater, featuring interviews with screenwriter Tony Leung Hung-Wah, actor Jason Pai Piao, and actor Yuen Bun (26 minutes 41 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an audio commentary with film historian and author Samm Deighan, reversible cover art, a bottom-loading VHS-inspired spot gloss slipcase, a double-sided poster, and a 40-page perfect-bound book with an essay titled Down and Out in West Kowloon written by Walter Chaw, an essay titled High & Low: on Lam Nai-Choi’s Men from the Gutter written by Ariel Esteban Cayer, and an essay titled Unheroic Bloodshed: Shaw Brothers Studio and Modern Crime Films written by Keith Allison.

Summary:

Men from the Gutter was directed by Lam Ngai Choi, whose other notable films include The Seventh Curse, Her Vengeance, Riki-Oh: The Story of Ricky, Erotic Ghost Story, and The Cat.

The narrative centers on two cops: one adheres strictly to the rules, while the other frequently crosses the line and is willing to do whatever it takes to apprehend his suspect.

Lam Nai-Choi's gritty crime film, Men from the Gutter, stands in stark contrast to his fantasy films. The look and vibe of Men from the Gutter fit firmly into Hong Kong cinema’s new wave that began in the late 1970s. By the time the Shaw Brothers made Men from the Gutter, the type of film that was successful in the past was no longer popular, and they started to venture outside of their usual martial arts films.

Although there are a few brutal moments in Men from the Gutter, it predates Heroic Bloodshed films by a few years. There is a noticeable stylistic difference between Hong Kong new wave crime films made before Heroic Bloodshed films rose to prominence in the 1980s. The most significant distinction between these new wave crime films and Heroic Bloodshed films is their emphasis on a more realistic approach.

While his character is essentially a secondary character whose subplot ultimately intersects with the two cops' stories, it is impossible to imagine Men from the Gutter without Jason Pai Piao (Killer Constable). He portrays Zi Jian, a hitman from Thailand, who is also driven by revenge. He delivers a performance that is equally unassuming and menacing. That said, the rest of the cast are very good in their roles.

Men from the Gutter is one of two crime films that Lam Ngai Choi directed before making the shift to fantasy/horror films, the other film being Brothers from the Walled City. It is a shame that he did not direct more crime films, since it is clear that he excelled in the two he made. His direction for Men from the Gutter is exemplary; he fully exploits urban landscapes and delivers an ample amount of tense moments.

The narrative is well executed; it does a superb job weaving the two cops' stories with the hitman from Thailand. The narrative quickly draws you in; things move briskly and build to an outside action set piece finale in which the floor of the building collapses in the middle of the shootout. That said, the stuntwork and action sequences are outstanding. Ultimately, Men from the Gutter is an exceptional crime film that effectively connects earlier films with those that follow the heroic bloodshed genre.

Men from the Gutter gets an exceptional release from Vinegar Syndrome Archive that comes with a solid audio/video presentation and insightful extras. Highly recommended.

Written by Michael Den Boer

The Cat: Limited Edition – 88 Films (Blu-ray)

Theatrical Release Date: Hong Kong, 1992
Director: Lam Ngai-Choi
Writers: Chan Hing-ka, Gordon Chan
Cast: Waise Lee, Christine Ng, Gloria Yip, Lau Siu-ming, Lawrence Lau, Philip Kwok, Ni Kuang, Chua Lam

Release Date: September 1st, 2025 (UK), September 2nd, 2025 (USA)
Approximate Running Time: 89 Minutes 20 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Cantonese
Subtitles: English
Region Coding: Region A,B
Retail Price: £25.00 (UK), OOP (USA)

"An evil blob-like extraterrestrial has come to earth with nefarious intentions. Luckily some good aliens are on its trail: a man, a woman, and—of course—their fluffy black cat." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about the transfer, "Brand new 2K restoration from the original negative."

The Cat comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.3 GB

Feature: 25.2 GB

The source looks excellent; flesh tones look healthy, colors are nicely saturated, and image clarity, black levels, and compression are solid, and the image always looks organic.

Audio: 5/5

This release comes with one audio option, a LPCM mono mix in Cantonese with removable English subtitles. Dialogue comes through clearly, everything sounds balanced, and range-wise this audio track sounds excellent.

Extras:

Extras for this release include a stills gallery with music from the film playing in the background, a theatrical trailer (4 minutes 23 seconds, Dolby Digital mono Cantonese with removable English subtitles), an interview with screenwriter Gordon Chan (21 minutes 47 seconds, Dolby Digital stereo Cantonese and English with removable English subtitles), a Japanese cut of The Cat, in standard definition (97 minutes, letterboxed widescreen, Dolby Digital mono Japanese with removable English subtitles), an audio commentary with Frank Djeng (NY Asian Film Festival), reversible cover art, a premium artcard, a slipcover, a rigid slipcase, and a 40-page perfect-bound book with cast & crew information, an essay titled “That Cat is Dangerous” A Retrospective Look at the Filmography of Lam Nai-Choi written by Paul Bramhall, an essay titled Body Horror The Warped Cinema of Lam Nai-Choi written by Mathew Edwards and archival images.

Summary:

The Cat was directed by Lam Ngai Choi, whose other notable films include The Seventh Curse, Her Vengeance, Riki-Oh: The Story of Ricky, and Erotic Ghost Story. The Cat is Lam Ngai-Choi's second of his two film adaptations of Ni Kuang's Wisely Series; the other was The Seventh Curse.

Wisley, an author of fantastic fiction, looks into a trio of benevolent aliens trapped on Earth looking for a way home. Although the story he’s been told by his friend sounds like the fiction he writes, he investigates further. His investigation uncovers and puts him in the crosshairs of an evil entity that absorbs its victims and, in some instances, becomes them.

Lam Ngai-Choi, more than any other director working in 1980s and early 1990s Hong Kong cinema, excelled at making weird horror/fantasy that had elaborate mechanical and optical effects. Another thing that his films are known for is gruesome moments of carnage. With his final film, The Cat, he takes all of these elements that are synonymous with his films and pushes them to their extremes.

The Cat is a wild ride with things you've never seen before. The opening setup not only does an excellent job establishing key characters, but it is also very effective in setting an ominous tone that pervades throughout. That said, The Cat is a melting pot of fantasy, action, and humor whose narrative moves at a breakneck momentum.

All around, the cast are excellent in their roles, especially Gloria Yip (The Blue Jean Monster), who portrays a mysterious woman who's actually an alien from another planet with a cat companion. Another standout performance is by Waise Lee (A Better Tomorrow), who plays the protagonist, a renowned author named Wisely. The presence of the cat, or possibly multiple cats, deserves an honorable mention. Additionally, notable cast members include Philip Kwok (Five Deadly Venoms) as a police inspector and Christine Ng (Crime Story) as Wisely’s girlfriend.

Besides exemplary mechanical and optical effects, another area where The Cat exceeds expectations is its stuntwork, especially moments with animals. The most memorable action sequence is a fight between a cat and a dog in a junkyard. The scene must be witnessed to be believed, as the cat and the dog perform actions that defy gravity. Nonetheless, The Cat is a special effects-heavy fantasy/horror film, and its stuntwork rivals anything released in Hong Kong during the early 1990s.

From a production standpoint, The Cat is a film that supersedes the sum of its parts. Its batshit crazy premise is superbly realized, and its narrative does a phenomenal job building momentum to an ending featuring a giant blob that absorbs everything in its path. Other noteworthy aspects include the stylish visuals that enhance the atmosphere, as well as an exceptional score that amplifies the overall mood. Ultimately, The Cat serves as a fitting swan song for Lam Ngai-Choi, a filmmaker whose distinctive use of body horror and grotesque realism sets him apart from his contemporaries.

The Cat gets an exceptional release from 88 Films that comes with a solid audio/video presentation and insightful extras; highly recommended.

Written by Michael Den Boer

Erotic Ghost Story Trilogy: Limited Edition – 88 Films (Blu-ray)

Theatrical Release Dates: Hong Kong, 1990 (Erotic Ghost Story), Hong Kong, 1991 (Erotic Ghost Story II), Hong Kong, 1992 (Erotic Ghost Story III)
Directors: Lam Ngai Choi (Erotic Ghost Story), Peter Ngor (Erotic Ghost Story II), Lai Kai-Ming (Erotic Ghost Story III)
Cast: Amy Yip, Ha Chia Ling, Man So, Hitomi Kudo, Lam Chung (Erotic Ghost Story), Anthony Chau-Sang Wong, Ichijo Sayuri, Charine Chan, Kwok Yiu-Wah, Chik King-Man, Amy Yip, Man So (Erotic Ghost Story II), Pauline Chan, Wong Tak-Ban, Shing Fui-On, Chik King-Man, Otomo Rena (Erotic Ghost Story III)

Release Date: March 3rd, 2025
Approximate Running Times: 89 Minutes 24 Seconds (Erotic Ghost Story), 98 Minutes (Erotic Ghost Story II), 95 Minutes 57 Seconds (Erotic Ghost Story III)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 18 (UK)
Sound: LPCM Mono Cantonese (All Films), LPCM Mono English (Erotic Ghost Story)
Subtitles: English (All Films)
Region Coding: Region B
Retail Price: £39.99 (UK)

"This triple-bill of paranormal perversion delivers everything you’d want from a Category III movie, plus a bit more besides. In the first tale from Story of Ricki director Ngai Choi Lam, a trio of sexy spirits fall for the same hunk. The second movie, the directorial debut of Peter Ngor has the God of Carnal Desire, God Wu Tung on a quest for revenge after his favorite conquest is zapped by other god like beings and in the third piece from Kai-Ming Lai, a man journeys into the afterlife only to be greeted by a very powerful woman. A trilogy like no other, this one hits the spirited saucy spot." - synopsis provided by the distributor

Video: 5/5 (Erotic Ghost Story), 4.5/5 (Erotic Ghost Story II, Erotic Ghost Story III)

Here’s the information given about the transfers, "Stunning new 2K restoration of the original Cantonese version and the extended Mandarin version."

Erotic Ghost Story comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.9 GB

Feature: 26.5 GB (Original Cantonese Version), 12.8 GB (Shorter Mandarin Version)

Here’s the information given about the transfers, "Stunning new 2K restoration of the original Cantonese version and the shorter Mandarin version."

Erotic Ghost Story II comes on a 50 GB dual layer Blu-ray.

Disc Size: 42.7 GB

Feature: 27 GB (Original Cantonese Version), 12.1 GB (Shorter Mandarin Version)

Here’s the information given about the transfers, "Stunning new 2K restoration of the original Cantonese version and the shorter Mandarin version."

Erotic Ghost Story III comes on a 50 GB dual layer Blu-ray.

Disc Size: 41 GB

Feature: 26.5 GB (Original Cantonese Version), 11.6 GB (Shorter Mandarin Version)

The transfers for each film look excellent, and Erotic Ghost Story is a noticeable improvement over 88 Films' 2022 Blu-ray release. Flesh tones look healthy, colors are nicely saturated, image clarity, contrast, black levels, and compression are solid, and the image retains an organic look.

Audio: 4.25/5 (All Audio Tracks)

Each film comes with a LPCM mono mix in Cantonese with removable English subtitles. Erotic Ghost Story also comes with a LPCM mono mix in English, and there are removable English subtitles for Cantonese text. All of the audio tracks sound clean, clear, and balanced. Range-wise, they handle ambient sounds well, and the score sounds robust.

Extras:

Extras for Erotic Ghost Story include a reversible cover art, a stills gallery with music from the film playing in the background, Tai Seng trailer (1 minute 35 seconds, Dolby Digital mono English, no subtitles), Hong Kong theatrical trailer (2 minutes 37 seconds, Dolby Digital mono with Cantonese with removable English subtitles), an episode of Celebrity Talk Show with James Wong, Ni Kuang and Chua Lam who visit the set of Erotic Ghost Story (47 minutes 56 seconds, Dolby Digital mono Cantonese with removable English subtitles), an audio commentary with Asian cinema experts Mike Leeder and Arne Venema, an audio commentary with film critic and author Samm Deighan, and the extended Mandarin version (95 minutes 16 seconds, 1.85:1 aspect ratio, Dolby Digital mono Mandarin with removable English subtitles).

Extras for Erotic Ghost Story II include a reversible cover art, a stills gallery with music from the film playing in the background, Hong Kong theatrical trailer (1 minute 57 seconds, Dolby Digital mono with Cantonese text with removable English subtitles), an archival Making Of featurette with actor Anthony Wong, scriptwriter Abe Kwong and assistant director Tenky Tin (15 minutes 16 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an audio commentary with Frank Djeng, and the shorter Mandarin version (92 minutes 36 seconds, 1.85:1 aspect ratio, Dolby Digital mono Mandarin with removable English subtitles).

Extras for Erotic Ghost Story III include a reversible cover art, a stills gallery with music from the film playing in the background, Hong Kong theatrical trailer (3 minutes 8 seconds, Dolby Digital mono with Cantonese with removable English subtitles), an audio commentary with Frank Djeng, and the shorter Mandarin version (77 minutes 30 seconds, 1.85:1 aspect ratio, Dolby Digital mono Mandarin with removable English subtitles).

Extras for this release include a rigid slipcase, 6 premium collector’s art cards, a double-sided fold out poster, and a 40-page booklet with an essay titled Sex is Satanic: How Female Sexuality is Demonised in the Erotic Ghost Story Trilogy written by Zoë Rose Smith, From an Ancient Past to an Unknown Future a Brief Introduction to Category III Cinema and Erotic Ghost Story written by Dylan Cheung, and archival images.

Summary:

Erotic Ghost Story was directed by Lam Ngai Choi, whose other notable films include The Seventh Curse, Her Vengeance, Riki-Oh: The Story of Ricky, and The Cat. Erotic Ghost Story’s two main influences are The Witches of Eastwick and Pu Songling's Strange Tales from a Chinese Studio.

Despite the fact that sex and violence are the two elements that unite Cat III cinema, the best examples of Cat III cinema are the films that are balanced between these two elements. Films that lean more towards sex are the ones that do not hold up as well as films that are overtly violent or are a combination of sex and violence. A case in point is Erotic Ghost Story, a film that has an ample amount of sex and any violence is limited. That said, when it comes to violence, what few moments there are in Erotic Ghost Story are very effective moments, most notably a scene where three sister fox spirits witness a demon unleash his fury on a woman he has lured.

Anyone who has seen any of Lam Ngai Choi's films knows that they are not rooted in reality. He has directed some of the most adventurous films to emerge from Hong Kong in the late 1980’s and early 1990’s. And though Erotic Ghost Story has many elements that tend to pop up throughout Ngai Choi Lam’s filmography, Erotic Ghost Story is his only foray into erotic cinema. That said, when it comes to this genre's tropes, he does a great job of mixing them with his cinematic style.

Though there are a few secondary characters, Erotic Ghost Story is ultimately carried by its four leads. In the roles of the three sister fox spirits are Amy Yip (Robotrix), Hitomi Kudô, and So Man, and Lap-Man Tan (City Hunter), in the role of a scholar who is seduced by the three sisters. That said, all three female leads have ample physical assets, which provides plenty of eye candy. Also, Amy Yip and So Man will return for Erotic Ghost Story II.

Besides an ample amount of nudity and some well-placed moments of erotica, sex also plays a significant role in the dialog. And, despite the fact that Erotic Ghost Story is softcore erotica, it throws in some martial arts for good measure. Ultimately, Erotic Ghost Story is a thrilling film that lives up to its name.

Peter Ngor directed Erotic Ghost Story II. He only directed four films, and he is more known for his work as a cinematographer on films like Mr. Vampire, Armour of God, On the Run, Sex and Zen, and Full Contact.

It is never surprising when a successful film spawns sequels or knockoffs, and this is what happened with Erotic Ghost Story, a film that had two sequels that are essentially variations of the same premise. The narrative for Erotic Ghost Story II begins with a recap of the events from Erotic Ghost Story. Besides the premise, another area where Erotic Ghost Story II connects to its predecessor is through cameos from two actresses, Amy Yip and So Man, who return, albeit in different roles.

The narrative revolves around two fox spirits who capture a demon’s lover and burn them at the stake, destroying his offspring. Angered, the demon wreaks havoc on humans, and the only way to appease him is to offer virgins. One of the women offered as a sacrifice resembles the demon's lover perfectly, prompting him to seek her out. That said, the narrative is overreliant on sex scenes, one of which lasts nine minutes.

The best part of Erotic Ghost Story II is Anthony Chau-Sang Wong’s (Hard Boiled) portrayal of a demon named Wu-tung. Once again he portrays an outrageous character, and the result is another exemplary performance. Another noteworthy performance is delivered by Ichijo Sayuri, who provides an equally delirious portrayal in the role of Chiu-Sheng, Wu-tung's demoness accomplice. Ultimately, Erotic Ghost Story II is an underwhelming sequel that is tonally different and lacks many of the things that made its predecessor work so well.

Lai Kai-Ming directed Erotic Ghost Story III. His notable films are The Blue Jean Monster, Daughter of Darkness, and The Peeping Tom.

After the letdown of its predecessor, I approached Erotic Ghost Story III with cautious expectations, and what I witnessed far exceeded my hopes. The narrative revolves around a swordsman who is drawn into the demon realm, and though he is engaged to another woman, he falls in love with a demon. That said, where its predecessor was over reliant on sex scenes, Erotic Ghost Story III does a superb job effortlessly blending them with exposition.

The most surprising aspect of Erotic Ghost Story is its performances, especially its two leads: Wong Tak-Ban, who portrays Chu Chung, the swordsman who falls in love with a demon, and Pauline Chan (From Beijing with Love), who portrays the demon who bewitched Chu Chung. Another performance of note is Shing Fui-On (Her Vengeance), whose character Reverend Wick provides the comedic relief. This character looks ridiculous with his chrome dome hairline, and it is interesting to see him in a role against type.

Erotic Ghost Story III does a better job than its predecessor at capturing the essence of Erotic Ghost Story. Another strength of Erotic Ghost Story III is how effectively it blends sex, humor, and action, and in the case of the latter, they are well-executed. The demon realm depicted in Erotic Ghost Story III is filled with debauchery, flesh-eating, and other sinful behavior. Though there are a few wild moments, the most memorable is a scene where Reverend Wick shrinks himself and crawls inside of the matriarch's demon witch's vagina. Ultimately, Erotic Ghost Story III is a perfect mix of fantasy and erotica, making it the superior of the two sequels.

Erotic Ghost Story Trilogy is an exceptional release from 88 Films that gives each film a solid audio/video presentation. Each film comes with its alternate Mandarin version and informative extras, highly recommended.

Written by Michael Den Boer