Devil 666

Perhaps it's a matter of imperfectly translating Chinese characters into English words and phrases (sometimes giving only approximations that the viewer must be aware enough to dissect themselves) as much as the screenwriting itself, but it also seems apparent in the scene and narrative writing that the storytelling here is decidedly direct. Not just direct, but maybe a tad blunt and simplified, too, removing subtlety and nuance from the equation in communicating the tale, especially when it comes to discussion of religious mythology or iconography. It's further worth observing that the picture gladly and somewhat emptily employs tropes in building its characters, and in rounding out scenes after the most plot-centric elements have been laid in. It bears repeating that some of this may at least in part be a reflection of the difficulty in conveying a story written in one culture and language in a manner that makes it accessible to another, though even with that allowance in mind, I think it's safe to say that 'Satan returns,' as it presents, is often a bit heavy-handed, with notable rough edges, and would have benefited from a more mindful, delicate touch in many regards.

Be that as it may, the broad strokes of Wong Jing's screenplay are fantastic, with great ideas laying the foundation for a playfully sinister and sometimes delightfully gnarly action-horror flick. As the story builds of police and investigation, rituals and Satanism, and an effort to resurrect the power of the devil, strong scene writing gives us flavors of violent action, blood and gore, light humor, surveillance and pursuing leads, and discrete genre elements that range from the fun to the earnestly unsettling. While some of the tricks employed along the way are a little over the top (in addition to being rather forthright as noted), every aspect of the feature is geared toward bolstering either the action or the horror, or otherwise ensuring an entertaining spectacle, and the result is a reliably good time, if less than flawless. The action sequences are terrific, as well as all the stunts and effects that we see at any time. The sets and props are excellent and quite imaginative at their best (and sometimes smartly gruesome), lending a measure of disquieting atmosphere to the proceedings. Even cinematographer Cheng Siu-Keung gets a chance to really stretch his legs here, with very active and dynamic work that pretty well gets into the spirit of the project, and the much the same can be said for the editing.

Among other issues that trouble the viewing experience, one must also make note of how the movie struggles at times to find the right tone. Particularly noticeable in the first and second acts, tinges of ill-fitting humor get woven into scenes of action or horror. As the third act rolls around another problem rears its head, for just as 'Satan returns' shows itself early on to be a smidgen gawky and club-footed in its writing, in about the last one-third the storytelling shifts in a way that very pointedly needs a deft, subtle hand to truly succeed. For such lack, that length of the film that should surely be the most wickedly delicious is drained of a quantifiable portion of its power. Still, while all these just criticisms place definite upper limits on the total value to be found here, it remains solidly enjoyable much more than not. Just as the writing is splendid at large but gets tripped up in the details, director Lam Wai-lun may get mired in the appropriate application of esoteric facets like tone or polish, but overall his orchestration of every shot and scene is outstanding, letting the action and horror equally dispense thrills while shaping a compelling, satisfying narrative. While no one in the cast specifically stands out, and they may be constrained by the matters I've already mentioned, all the same those involved give capable performances of robust physicality, and what range and nuance the nature of the presentation does permit.

Very simply the fact is that this picture suffers from weaknesses and shortcomings, and had more deliberate thought and care gone into all the small odds and ends - the screenplay above all - the final product would have unmistakably been better. With that said, it speaks very well to the skill and intelligence of all who participated in its creation that 'Satan returns' nonetheless remains as devilishly pleasing and fun as it is, through to the very end. It has its faults, strictly speaking, but still I had a blast watching, and I think most anyone who appreciates action-horror would also find this an invigorating, rewarding find. One might not need to go out of their way to see it, but if you like spaces that this title plays in, as far as I'm concerned it's well worth checking out, and a swell credit to all on hand.

One of the worst movies I have ever watched. I tried to be lenient and give it a go but boy did I regret it. It is an absolute anti-climactic dog crap waste of time . Do not spend a single second watching this pure concentrated low quality garbage.

One of the worst movies I have ever watched. I tried to be lenient and give it a go but boy did I regret it. It is an absolute anti-climactic dog crap waste of time . Do not spend a single second watching this pure concentrated low quality garbage.

One of the worst movies I have ever watched. I tried to be lenient and give it a go but boy did I regret it. It is an absolute anti-climactic dog crap waste of time . Do not spend a single second watching this pure concentrated low quality garbage.

Satan Returns ("starring the babe from Naked Killer!" screams the tag-line) is very clearly modelled on Se7en: the dark, jumpy look-and-feel is faithfully reproduced. At one point, a character suggests that the killer has "seen Se7en". But the similarity ends there. Satan Returns is a film that could only ever be produced in Hong Kong: it is a demonic thriller featuring kung-fu, gunfights, sex, zombies, and the kitchen sink. It's all very entertaining (although ludicrous) stuff. At times, it even manages to be scary. See it to believe it.

Hyped as China's "answer" to Fincher's SEVEN; there's a scene where The Law run down a rain-soaked alley, a killer making use of a Biblical Motive and - well, that's about where the "connection" ends. Occult Scholar (??) seeks series of women with 6/6/69 birthdates in order to remove their hearts - any victim who survives the surgery, proves herself to be The Devil's Daughter. Usual HK buffet: martial arts (snore...), slapstick, noxious women, and, when all else fails, throw in some genital humour. It must be said, that zombie cops cut apart via chainsaw & a nailgun crucifixion are a tad more exciting than Paltrow's head in a box. Plus, a bonus "shock" ending. Basically, a feature length indictment of Chinese Law Enforcement. As one subtitled villain quips "Damn It! Go Eat S***!" Translation: rent a Cat III title instead.

For this supernatural serial killer flick, director Lun Ah not only adopts the grainy, rain-soaked style of David Fincher's Se7en (a big box-office hit the previous year), but also applies every clichéd technique available to him in the Hong Kong film-makers' bag of tricks. However, no amount of blue lighting, swirling smoke, slow-motion action, canted framing, and fluttering fabric can disguise the fact that Satan Returns is a cheaply produced, poorly considered piece of garbage that not even the presence of Hong Kong hottie Chingamy 'Naked Killer' Yau and top martial arts actor Donnie Yen can save from failure.

The plot, from the pen of prolific writer/producer Wong Jing, sees a murderer named Judas abducting women born on the 6th June 1969 and removing their hearts to see if they are the daughter of the devil (apparently, having no heart makes little difference to a spawn of Satan). Whilst this silly story does allow for the occasional scene of light gore and unimpressive action, the focus of the film is on dull police procedure infused with lame comedy. Only towards the end of the film, do proceedings get a little livelier with the introduction of a couple of zombie cops and a touch of power tool mayhem, but by then it's definitely a case of 'too little, too late'.

A touch more madness throughout, a couple of decent moments of tension, and a lot more gore certainly would've helped matters immeasurably, but as far as I am concerned, the key to success was under the director's nose all along: if he had made better use of Yau's smouldering sexuality (the only time she gets really horny, it is way too literal!), and hadn't allowed poor choreography and bad editing to prevent Yen from successfully displaying his awesome fighting skills, then Satan Returns would have been a whole lot more entertaining.