666 moh gwai fuk wut

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.

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.

This weirdo Hong Kong offering is a strange amalgamation of the traditional kung fu movie, the outrageous Chinese horror yarn and the typical 'edgy' dark thriller, so popular in the '90s in the advent of SE7EN and THE SILENCE OF THE LAMBS. The latter two movies are directly referenced in this mix-up of a movie, which throws in a little bit of all genres to keep things entertaining – the only thing missing is typical Cat III style sex and nudity. Instead, we get a bizarre, barely-makes-sense kind of plot involving an evil cult (or man) named Judas, who's convinced that a female police officer is the daughter of Satan. Lots of chases down rain-washed alleyways and kung-fu action ensue, along with some light gun battles and an over-the-top finale which is worth the wait.

Chingamy Yau is the attractive girl who just might be the daughter of Satan, and tends to get caught up in lots of weird visions and sees herself with horns in the mirror. Stealing his scenes is one Donnie Yen as the ultra-cool bespectacled police officer, an extremely violent man who shows off his martial arts skills in a handful of decent fights. Altogether the pacing of this film is slow and it tends to be a case of style over substance, with not much in the way of drama or action unfolding despite the relative excitement that the plot promises. It actually tends to be a low budget kind of movie, with the only big-style action at the end, complete with chainsaws, crucifixions and explosions. It's worth the wait. Something else worth waiting for are the hilariously incorrect English subtitles, which turn many mundane moments into comedy situations.

This Hong Kong film combines horror and cop genres as a killer, going by the name of Judas, is targeting women born on the 6th of June 1969. He believes that the Devil's daughter was born on that day and the only way to identify which woman born on that day is the Antichrist is to cut out their hearts and see which one still lives. Ching, a beautiful officer in the Royal Hong Kong Police Force, was born on that date and has been having recurring nightmares about the crimes... before the first body is found. Judas starts contacting her, telling her that she is Satan's daughter. Officers Nam and Ka-ming are put in charge of the case and quickly realise that the killer is inspired by the Book of Revelations.

I rather enjoyed this film; I particularly liked how it combined horror and cop genres. It is clearly inspired stylistically by 'Seven'... something acknowledged by a character; it may not be as technically good as that film but it is perhaps more enjoyable. This is because there is a fair amount of humour and quite a bit of action; sometimes at the same time. The story is solid enough for the genre. Actress Chingamy Yau, does a fine job as Ching, Donnie Yen impresses as Nam and Francis Ng is good as bad guy Judas. The action scenes are enjoyable and a bit gory at times but not excessively so. Overall I'd say that this is not a film to be taken seriously but it is fun enough; I'd certainly recommend it to fans of horror movies who also enjoy Hong Kong cinema.

These comments are based on watching the film in Cantonese with (poor) English subtitles... strangely the version I saw also had Chinese subtitles which I couldn't turn off!

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.