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Rigor Mortis is not a horror movie that is eager to scare the pants out of people. As what the trailer suggests, it is a moody atmospheric horror movie that is borderline art-house. What may surprise audience is that it actually takes its time to develop the story.

The story: It is quite straight-forward. A man moves into a spooky apartment in a 'washed- out' building. It is expected as spirits inhabit the apartment and things happen. Hold on before you think this will turn into a thrilling and scary ride. In fact, this favours slow-burning thrills and pace. It doesn't move in a break-neck pace but strangely the slow-burning pace will urge you to find out more. It builds up to a visually stunning climax where a fight with the vampire ensues. The stylish effects including the slo-mo and a few brief fight scenes enhance the movie, adding a flavour to it. The moody atmosphere of the movie is commendable.

Overall: It is commendable that this breaks away from the other horror movies. Instead it is a bleak but stylish horror movie with a slower pace. Watch this movie without thinking too much and let the story reveal its truth in its own style.

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Rigor Mortis, alongside Dream Home (2011) and Vulgaria (2012) is a string of strikingly local, one-hundred percent "Made in HK" cantonese productions thoroughly tickling the film buds of HK-cinefreaks like myself.

Prepared in a film industry long perceived as dead by me. One that since have been focusing on mainland China as its' main moviegoer, racking up Chinese-produced spectacles featuring dubbed mainland performers when not dishing out Lan Kwai Fong 1,2,3. This is a very, if not exceptionally, welcomed piece of what drove me to HK-cinema in the first place.

Take a slice of 80's hopping vampires sans the comedy, blended into perfection with stylish visuals, Ju-On-esque storytelling, loads of urban cantonese profanities and one can totally engulf himself in a genuine Hong-Kong movie experience. One rarely stumbled upon today.

Thank you, Juno Mak!

Director Juno Mak brings us a horror HK movie like nothing else, a story about a former actor who makes his new home at a creepy, dark and depressed-looking Hong Kong public housing tower. There, he encounters a slew of ghosts and zombies.

It was nice to see a brand new horror movie from Hong Kong that pays homage to the classic Mr. Vampire and other ghost genre movies of the 1980s-1990s. Actors from the original Mr. Vampire series reunited to star in this film, including Chin Siu Ho, Anthony Chan, Billy Lau, Chung Fat and Richard Ng. They, including others in the movie, gave a very powerful and dramatic performance in their respective roles. Lai-yin Leung and Philip Yung wrote a very moody, dark and eerie story that, despite being a homage, provided a huge departure to the Chinese vampire/ghost movies of the 80s and 90s. The usual lighthearted humor and slapstick comedy seen in those movies were sorely absent in this film.

The darkness and gloomy atmosphere that surrounded this movie almost made it seem that the heydays of those classic ghost/vampire movies were long gone. Still, though, the setting and cinematography were a nice touch and it accentuated the horror and solemn drama felt in the film.

The plot goes at a fairly fast pace, keeping you engaged and intrigued. The main vampire in the film was executed very well and all the events leading to its appearances provided enough creepiness and terror to make the hair raise behind your neck.

While a pretty scary and intriguing movie, many of the plot points are confusing and the special effects team relied too heavily on CGI. The two female ghosts portrayed in the film seemed like a rip-off of The Grudge and the hopping vampire didn't really hop much - just gliding from place to place with heavy CGI influence. In addition, the bloody gore and adult themes were done overboard.

Overall, it's not a horrible movie. I prefer watching the Chinese vampires movies of the 80s and 90s, but this one is worth the watch at least once for a good scare and reminiscing.

Grade C-

Being picked for the Toronto International Film Festival's Midnight Madness Series with your first ever feature film is an achievement unto itself. But that is exactly what Hong Kong pop star-turned-director, Juno Mak finds himself with his first film, Rigor Mortis.

Described as a tribute to the horror-comedy series Mr. Vampire, Rigor Mortis takes its audience to an apartment complex where aging actor Chin Sui-Ho finds himself moping after the loss of his wife and son. Ghosts and spirits are already known to loiter the halls of the building, but when a grieving resident attempts a ritual to bring her husband back from the dead the residents are forced to confront the evil of the supernatural including a vampire like creature that terrorizes the residents.

Filled with some remarkable effects complimenting the very dark and dreary setting of the depraved building, Rigor Mortis is pea soup thick with atmosphere. Asian cinema has always been the front runners in bringing ghost stories to the masses (Dark Water, Ju-on, Ringu), and director Juno Mak has surrounded himself with a top effects team to bring his creatures to life.

Unfortunately, the visuals are not enough to save the film from the mediocrity pool. The script is slow in getting to the goods and its complexity reminded us of Timur Bekmambetov's Night Watch – a glorious looking film that got lost among its effects. The indulgence is particularly evident in the film's finale which includes a wonderful fight between our protagonist, the vampire like creature and two ghostly twins.

Fans of the Mr. Vampire series may end up scratching their heads wondering where the comedic punch from their series has gone as Rigor Mortis has hardly two laughs to share from credits to credits. It's as serious as a heart-attack even if the EKG indicates it only to be a mild one. Suicides, rape and even the placement of harm's way of a small boy are some of the serious overtones that engulf the moods of the film. Usually such melancholy is exactly what the horror doctor orders, but Rigor Mortis plays more like a psychedelic bad dream than a viable horror film worthy of our recommendation.

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"Rigor Mortis" is a slow-paced but intriguing atmospheric horror movie that honours both classic supernatural Hongkong cinema from the eighties and nineties and Japanese horror cinema of the nineties and the early years of the new millennium. The movie uses mythological elements from both cultures. To dig all these elements, it's suggested to get informed about the mythological background and watch this movie multiple times. You will realize that each character in the movie represents a different kind of ghost from Chinese mythology for example. You might also realize that the strange tall people with the umbrellas that seem to have a random cameo appearance in this movie are actually soul collectors using their umbrellas as traps. You could also see that the cook and the priest are both Taoist priests but while one uses his powers to help people and fight demons, the other uses the same powers for his own selfish acts and helps to awake and strengthen the demons. As you can see, this movie is filled with many lovely little details. If you are looking for explicit gore or an extremely creepy experience, you are at the wrong address.

Something that largely contributes to the atmosphere is the use of lights and shades, camera angles varying from wide angels to claustrophobic short cuts and many special effects that especially use colours very well. The CGI effects never look out of place and aren't overused as in many other contemporary Chinese films, especially action movies. In his directional debut, Juno Mak manages to keep the basis of solid traditional horror movies based on an atmospheric use of lights and sounds, on creepy settings in a dirty public housing tower with old- fashioned apartments and on a menacing score and more contemporary elements such as the use of vivid flashy colours contrasting with the dark settings, computer-animated demons that sometimes look exotically supernatural and at other times disturbingly realistic and slow-motion camera sequences that add a nightmarish touch to the movie.

Apart of its detailed background and its consistent gloomy atmosphere, the movie can actually convince with some interesting characters. Each important character in this movie has a tragic tale to tell and some sort of development. Some of the background stories are actually quite touching and mostly deal with loss in one way or the other. The acting is calm, grounded and actually realistic and a welcome change if compared to the usual hysterically screaming teenagers. There is not really one outstanding acting performance but each actor and actress does an above average effort in this film.

It's hard to talk about the plot itself as several individual fates and different stories end up leading to something bigger and a fatal last fight between some courageous apartment tenants and some evil creatures. The movie also contains some sort of twist or alternate story if you want to which is revealed in the last three minutes. This twist is nothing really surprising after all and maybe the only real weak point in here but you have to understand that what matters in this movie is not really the outcome of it but the way things unfold. The way between start and finish is much more intriguing than the short overture and the grand finale themselves.

Now, if you care for atmospheric, mythological and slow-paced Asian horror cinema where you have to use your brain a little bit, this is definitely one of the most original movies in many years. If you are expecting the usual graphic shocker or scary supernatural film that solely wants to entertain, then you might actually dislike this film. Make sure to be familiar with Asian horror cinema before checking this movie out and you might enjoy your overall experience even more.