Semeando um Fantasma

First off this film is pure exploitation. This is sex and violence and really gross, even by todays standards. Its not the best film ever made, but if you want gore and worms and gross things with your beautiful naked women this is for you. This film belongs in the exploitation hall of fame.

A very bare bones explanation of the plot has a beautiful woman having an affair because she is bored with her husband of a couple of months. She wants to run off with her lover, who is also married, but he won't go. Getting out of her car on a lonely stretch of road she finds a phone and calls her husband who's cab driver. While she is waiting she is raped and killed by two guys. The husband uses the services of a black magician he once saved to get revenge on the killers and the lover. Its gross fun from that point on.

The sex is early on as we see the very beautiful wife naked in the shower and having sex with her lover. Proving that this is exploitation at its finest we have a slow motion topless jog along the beach.

This film has a reputation for being gross out royalty and its nice to report that this certainly is the case. This is a film that will have you going "yuck" quite often. Done before CGI this film is helped by knowing that what you see is what you get, people really are spiting up insects and such.

The problem for me was that it seems oddly paced. Don't get me wrong the plot moves, but at times it seems a bit talky, which is odd since what you see is what you need to see and hear.

See this film.

I rated it as a 7 out of 10, but thats for most people who want to see a gross out horror film from overseas. For hardcore exploitation film fans or those who love gross effects this is a classic and should be 10 out of 10.

Yang Chuan's "Zhong gui" (released internationally as "Seeding of a Ghost") represents Shaw Brothers' late-period foray into supernatural horror, arriving at a time when the studio was already beginning to wind down its legendary output. This 1983 offering attempts to blend noir-tinged crime drama with traditional Chinese black magic folklore, though the execution feels uneven throughout its 88-minute runtime.

The film opens with a compelling premise that immediately establishes its dark trajectory. Philip Ko delivers a committed performance as Chow Tung, a taxi driver whose mundane existence becomes entangled with forces beyond his comprehension. Ko, a former member of the celebrated Venoms troupe, brings a grounded intensity to his role that anchors the increasingly bizarre proceedings. His transformation from ordinary working man to grief-stricken widower seeking supernatural vengeance feels authentic within the film's heightened reality.

Norman Chu provides solid support as the mysterious sorcerer whose accidental encounter with Chow sets the narrative machinery in motion. The dynamic between these two characters forms the emotional core of the film, with Chu's performance walking the line between menacing and sympathetic. However, the supporting cast, including Maria Jo as Chow's ill-fated wife Irene, feels somewhat underutilized given the dramatic weight their characters carry.

Yang Chuan's direction shows flashes of atmospheric brilliance, particularly in the film's opening act where he establishes a palpable sense of urban dread. The Hong Kong locations are captured with a gritty authenticity that serves the story well, creating an environment where supernatural elements feel organically integrated into the city's shadows. The cinematography effectively uses darkness and confined spaces to build tension, though the visual effects work varies considerably in quality.

Where "Seeding of a Ghost" stumbles is in its tonal inconsistencies and pacing issues. The film struggles to maintain momentum during its middle section, with certain sequences feeling indulgent rather than necessary. The revenge plot, while emotionally justified, unfolds in ways that feel both predictable and occasionally exploitative. The supernatural elements, which should provide the film's most compelling moments, sometimes veer into territory that feels more sensational than genuinely frightening.

The film's treatment of violence and sexuality reflects the Shaw Brothers house style of the early 1980s, though modern viewers may find certain aspects dated or problematic. The practical effects work, while ambitious for its time and budget, doesn't always convince, particularly during the film's more fantastical sequences.

"Seeding of a Ghost" succeeds best when it focuses on the human drama at its center - a man's grief and his desperate desire for justice. The exploration of how loss can drive someone to embrace darkness provides the film with its strongest emotional beats. However, the execution of this premise feels somewhat hollow, never fully committing to either its crime thriller elements or its supernatural horror aspirations.

Perhaps the extreme cinema of the Far East simply isn't my cup of tea, but I can't possibly be as praising about "Seeding of a Ghost" as most of my fellow reviewers around here. Moreover, if it hadn't been for the excellent last half hour and the downright brilliant end-sequences, I probably would have rated the film negatively. "Seeding of a Ghost" is a difficult film to get into… It's all very hectic at first, with the introduction of numerous characters and the entire plot synopsis as described on the back of the DVD happening in the first 10 minutes already. Oh yes, the least you can say about this Shaw-brothers production is that it's a spirited and outrageous film! An amiable-looking cab driver accidentally runs over a sorcerer and this uncanny figure promptly informs him that very BAD things will happen to him as from that moment. He sure isn't lying, as the cabbie's wife starts an extramarital relationship with a gambler and shortly after she's raped and killed by a duo of thugs. The heartbroken cab driver, after being suspected of the murder by the police, attempts to get back in contact with the sorcerer and develops a plan to wreak havoc upon everyone who was responsible for his wife's death. The whole building up to the supernatural vengeance (which is, according to me, the actual point of the film) is very incoherent and contains too many redundant moments. Considering the available budget, however, it's an adequately made film with a solid director and fairly stylish camera-work. Even though you sometimes haven't got the slightest idea what's going on, you keep watching because it's intriguing and because you inexplicably know that somehow your patient will be rewarded. And, indeed, then comes the sensational finale that instantly causes you to ignore everything that might or might not had bothered you until then. The gambler's pregnant wife literally SPAWNS a grotesque and hideous monster that repulsively butchers a whole bunch of unrelated party guests. It's a non-stop series of splattering blood and guts and it kind of feels like a crossover between John Carpenter's "The Thing" and Peter Jackson's "Braindead". You don't have to be a horror specialist to realize there are far worse films to get compared with! The make-up effects are deliciously nasty and the smutty monster is a very engaging little creation. It's one of the greatest closures to an average film I ever saw and it forced me to rate the wholesome rather positively after all. Recommended especially to cult-hunters and other sick puppies.

I have been putting this off for a few years (I have had the DVD since 2009) mainly because I thought it was going to be shockfest that outdid The Boxer's Omen in gonzo-style horror. Well it was not even close to The Boxer's Omen which still holds a place deep in the suppressed subconscious of my cranium (actually it is more weird and gross than actually scary). In fact this has to be one of the most overstated and over-hyped horror films of Hong Kong though this is not a horrible film.

Chow (Phillip Ko: The Boxer's Omen, Shaolin Intruders) interrupts black magic by inadvertently saving the life of a black magic priest who is being chased down by an angry mob. Because of this the priest says at best he will get very sick and at worst his whole family will die. Since this is a horror film we know which scenario is going to take place. A film with him just being sick would not be as fun. But it is especially hilarious that it seems that the angry mob gets off clean and that he picked up the priest far from where the incantation went awry. I am probably over-thinking this.

Chow's wife Irene has been cheating on him because of his lowly taxi driver job, taxi drivers are a deranged lot (ask Anthony Wong), and his hair (seriously one of the worst wigs I have seen, worse than a Sammo Hung haircut). She is enticed by playboy Anthony Fong Ming (Norman Chu Siu-Keung: Bastard Swordsman) who visits her job of dealing cards and showers her with money, gifts, better hair (to be fair to Phillip check out Norman's perm in Hong Kong Godfather) and affection. One night those two adulterers have a fight and she gets out of the car and goes off by herself. Never good to be alone late at night when ruffians are about. She is confronted by two young hooligans who chase her down, one rapes her and ultimately she gets killed (why she runs into an abandoned house I do not know, why there would be an abandoned house in an abandoned area Hong Kong I also do not know).

When Chow finds out she is dead, he is ultimately a suspect for about 15 seconds. Fong is another suspect and despondent Chow finds out about the affair. He gets bad ideas in his head and wants revenge at all costs for those involved and goes to the black magic priest (still dressed like a shirtless jungle native; I wonder if he goes to the store like that) to seek revenge. This requires that they dig out his wife's corpse and he is warned that his monomaniacal revenge will likely result in his demise as well. The corpse is used quite effectively and it is creepy, the most scary aspect of the film. You can see it on the cover of the DVD and poster.

Fans of horror could do worse by seeking this out. I do not think it is as unique/interesting/gratuitous as Black Magic or The Boxer's Omen out of the Shaw Brothers horror oeuvre and I would suggest seeking those out first. This film overdoes the sleazy exploitation aspect of it, elongates the nudity and the film comes off more as a voyeuristic exercise especially in the beginning which starts to drag on. The slow motion topless running scene becomes almost absurd in its length and its use of the zoom lens. But you do get the benefit of a few fight scenes decently done involving Phillip Ko (still mad about the outcome with Norman Chu) who proves once again that you should not mess with taxi drivers or Phillip Ko. You also get a variety of gross out moments, Taoist priests, scares all done better in a variety of Hong Kong films. However, when the ghost is seeded there are plenty of horror elements, while keeping the exploitation element alive, especially towards the finale that will be of interest to viewers. There you get to witness a creature that seems inspired by John Carpenter's The Thing while a segment from the soundtrack from Alien is played.

I have the R1 Image release and it has English and Spanish subtitles. It comes with the Mandarin mono dub only. The R3 IVL release comes with both the Cantonese and Mandarin dub. At the time of the Hong Kong audience would have heard the Cantonese soundtrack, but most of the transnational audience would have heard it in Mandarin. Since at the time post dubbing was the norm and multiple dialects were often used on set it does not matter as much to me. However, this is a controversial topic where some have to have the "preferred" dub. I personally would like a release from this time period to have both the Cantonese and Mandarin language, but I will take what I can get. There are plenty of the Image released Shaw Brothers trailers (not the original trailers) on this release, but no trailer for the movie.

A taxi driver is warned that he will experience bad luck, after his path crosses with that of a strange practitioner of black magic. Sure enough, his beautiful young wife soon embarks on an affair with a suave gambler. Shortly after, he is accused of murder when his spouse is raped and killed by two thugs. And if that wasn't enough, the poor bloke is crippled after trying to beat up his dead wife's lover.

Suitably upset, he decides to enlist the help of the strange sorcerer who first foretold his run of ill fortune, and, by using the dark powers of witchcraft, attempts to exact revenge on the man who stole his woman, and the two responsible for her death.

As 80s Hong Kong horror goes, this movie from the Shaw Brothers studio is a fairly typical example: the story is bizarre, there are plenty of moments that defy logic and it is loaded with shonky creatures and OTT gore. Throw in some gritty fight scenes, a brutal rape, and quite a bit of female nudity (including full frontal) from cute Asian women, and the result is an enjoyable slice of Eastern sleaze that never bores, and even sometimes surprises.

This is perhaps the only film where one might witness a man being sodomised with a giant match-stick, a spirit impregnate a putrefying corpse in mid-air, and a finalé in which a multi-tentacled foetus creature erupts bloodily from its 'mother' and attacks guests at a party.