After a stormy start, the two become closer, eventually even falling in love — which would be sweet if Hsiao-Chien didn’t turn out to be a ghost, her well-appointed villa an illusion covering a decrepit haunted house, and her mistress a demanding old ghoul with a taste for souls.
Lam Ching-Ying made a whole slew of vampire comedies. The most interesting aspect of Vampire vs. Vampire is the fact that it pits Lam’s character against a Western style vampire
Old Hong Kong movies use the presence of a Taoist priest as a license to print crazy, despite the real world practice of Taoism’s emphasis on quiet contemplation and equilibrium with nature.
Lovestruck Sagawa arrives at the remote, spooky family mansion of his girlfriend Yuko, worried that she has sort of dropped off the face of the earth. He is shocked to learn from Yuko’s oddball mother that Yuko was killed in an automobile accident a couple of weeks earlier. The stunned Sagawa stays the night in the creepy old place, and during his time there he is visited by none other than his dead girlfriend.
Drac’s dialogue was choice, and the comic was full of half-naked vampire chicks, crossbows, cane swords, reanimated corpses, and bikers in furry lambswool vests and droopy mustaches
Samurai films have a curious knack for expressing compassionate, humanist ideals via soul-crushing bleakness and violence. One would be hard-pressed to find a bleaker, more violent indictment of the romance of the samurai — and the culture of violence in general — than director Tai Kato’s blood-drenched and aptly named Brutal Story at the End…
Release Year: 1957 Country: Japan Starring: Juzaburo Akechi, Namiji Matsuura, Shigeru Amachi, Hiroshi Hayashi, Akiko Yamashita Director: Goro Katano Original Title: Kaidan Honjo nanfushigi Alternate Title: Seven Mysteries Researching the history of Japanese yokai in cinema is a difficult task. At least, it’s a difficult task if, like me, you don’t read Japanese and are…