La fureur du revenant

What the hell is this all about? Here's a choice cut of dialogue "you have to catch him, then wrap him in, turn around, (whispers) a sanitary towel!" What? I think that they make these things up as they go along!

I figured that this film wasn't as known or popular as Spooky Encounters from the number of votes this film had got, compared to the previous one. I hope we'll get to see a proper bluray release of this film, because there are parts in it that really deserves to be seen by fans of Sammo Hung as well as the HK Horror Comedy subgenre, especially the part where Sammo is dressed up as a doll and also Uncle (Ching-Ying Lam) is carried by ghosts through the town.

One thing however that drag this film down compared to Spooky Encounters is the directing, this time it's actor/director Wu Ma instead of Sammo and it's very noticeable, the film is lighter in tone and much more silly. I have no idea why Wu Ma's character in the film needed to have such a large prosthetic nose, I was sure that by any time during the film the nose would get pulled off and reveal someone in disguise, but no. The film follow a similar narration as Spooky Encounters with a "scary" intro and then followed by a typical ghost story narration with The first night, the second night and so on. Wu Ma's big nosed character take up way too much time with this story too when I think most people rather want to follow what Sammo's character is up to. It was typical of the 80s HK films to always have an irritating/dumb character, which always have been the part I disliked most.

Sadly this film wasn't as focused and took many strange paths that made me confused over the whole plot of the film, fake death turned into murder followed by haunting and then possession and then accidental death and soon I wasn't sure who was the bad guy any more, what happened with the pregnant bride? The plot takes a U-turn towards the third act and we got to see a lot more of Sammo's love interest and what was closest to a ghost story where she was protecting the corpse from "Death Guards". The design of these costumes they were wearing looked awful, like a B-film version of E.T. - they looked more like dumb aliens than something from the underground. The animaton of the guards harass the girl also felt a bit off - the way the green spirits of the ghosts moved reminded me of the early Disney Silly Symphony short films, I would probably have loved this really much as a child.

Still, there's a couple of amazing fight scenes throughout the film that Sammo, Yuen Biao, Ching-Ying Lam and Billy Chan choreographed. So even if the plot is all over the place, I would still recommend it for the special effects and martial art.

"Ren xia ren" (1982), directed by Wu Ma, is a delightfully zany martial arts ghost comedy that seamlessly blends action, horror, and slapstick humor into a wildly entertaining package. While the film's plot can be convoluted at times, its strengths lie in its imaginative set pieces, standout performances, and a willingness to embrace the absurd.

The standout performance undoubtedly belongs to Sammo Hung, who shines as the effigy merchant caught up in a web of deception and supernatural hijinks. Hung's physical comedy chops are on full display, particularly in the unforgettable scene where he dons a doll costume and engages in a hilarious fight sequence. His chemistry with co-star Yuen Biao adds an extra layer of comedic brilliance to their interactions.

Another standout is Ching-Ying Lam, whose portrayal of the mischievous Uncle is a scene-stealer. His ghostly antics, including a memorable sequence where he is carried through the town by invisible spirits, are both creepy and hilarious, perfectly capturing the film's tonal balance.

Wu Ma's direction excels in creating a vibrant and imaginative world where the supernatural and the mundane collide. The film's special effects, while dated, are executed with a charming practical ingenuity that adds to the overall campy appeal. The fight choreography, a staple of Hong Kong cinema, is top-notch, with Sammo Hung and his team delivering thrilling and inventive action sequences.

However, the film's narrative can be a bit meandering at times, with subplots and character motivations occasionally getting lost in the chaos. Additionally, some of the humor may not resonate with modern audiences, as it leans heavily into slapstick and broad comedy tropes.

Despite these minor flaws, "Ren xia ren" remains a delightfully entertaining romp that showcases the best of Hong Kong's unique blend of martial arts, horror, and comedy. With its standout performances, imaginative set pieces, and a willingness to embrace the absurd, cementing its status as a cult classic in the genre.

The excellent physical humour of Sammo Hung really comes through in this supernatural comedy of escalating errors. Complicated, or if you like to say messy plotting thick with a conspiracy narrative (which as a viewer you're in on it watching Sammo's Fat boy trying to put the pieces together of his friend's death - Wu Ma. Then finding himself in an even worse predicament). This is where the laughs are centred around. Eventually it does change course in the last half hour where the over-top-eccentrics meets the atmospheric spirit world. Cartoonish fx, glowing greens and levitating objects. That's when the imagination comes into the picture. After somewhat of a less interesting set-up. The film's energy sorta comes and goes, and it's noticeable whenever Sammo is not on screen. Some scenes can linger on too long. As for hoping for some martial arts. It had its moments. Cue in the slow motion, but mainly its put on the back burner in favour of the buffoonery and last minute FX.

Bonkers chop-socky that is part satire of ludicrous Hong Kong supernatural martial arts films, and part brilliant example of how it should be done. A rare wheeze that actually does have something for everyone:

Excellent slapstick comedy - the hero is pompous and fat, not lithe and Jackie Chan-like; getting into daft, self-generated scrapes, he is kicked about by every one, and guards a dead friend who isn't really dead in an hilarious scene that has him fending off curious gold thieves. He is repeatedly buffeted by otherworldly menaces, first his mischievous friend, then Satan's minions, who turn him into a lime-covered bug.

Action - Choreographed with great skill, played mostly for laughs, but there is one sequence - the friend's murder - that is filmed with rare beauty.

Horror - Again, mostly comic, with a remarkable use of somewhat cheap special effects.

Historical costume drama - not very precise, but the costumes and set-design are an immense, guilty, Orientalist pleasure.

Satire - under all the laughs is a serious study of repressive social and gender codes, and the last scene is spectacularly subversive in its implications.