The Actual Horror Here Is The Low Level Of Skill Applied To Special Effects.

For this poorly made film, Wong Jing scripts and acts in the leading role as Ling Sie-Cheong, a businessman whose boss permits him to occupy a luxurious but long vacant house, rent-free, Ling not being aware that the palatial residence was where an entire family was murdered but has remained upon the premises as ghosts and, shortly after Ling and his parturient wife (Pat Ha) move into the home, she suffers serious pregnancy complications through ghostly interference and is subsequently hospitalized. Nat Chan and Charlie Cho reprise their accustomed parts as sex-obsessed and nitwitted friends of a featured player, here serving as Ling's office mates as well as a small committee urging the naïf to take advantage of his wife's absence by dallying with an attainable female and, following initial reticence he does so, selecting as lover Pinkie (Rosamund Kwan) who happens to be one of his new dwelling's resident specters, capable of materializing at will. Perceiving Pinkie as merely a short term affair, Ling soon throws her over, bringing vengeance upon himself from her protective family of phantoms, and he turns to his grandfather for aid, the latter having the acquaintance of an exorcist who assumes the task of eradicating the unpleasant band of wraiths, a procedure that seemingly takes up the largest portion of this, rather emblematic of its period, Hong Kong horror/comedy hybrid. This agonizingly lengthy section devoted to the riddance of the ghostly family as a collective is marked by extraordinarily shoddy use of makeup and awkwardly applied special effects, both shortcomings serving to furnish the only, albeit unintentional, genuine comedy for a low budget affair that suffers from, by and large, sorry production quality throughout along with the usual bemusingly inaccurate English language subtitles available with its DVD version.

Cantonese cinema from Hong Kong is globally recognized for its action films, martial arts epics, and romantic melodramas. Its innovation in choreography, editing, and atmosphere continues to set new standards for genre filmmaking.

The comedy genre refers to a category of entertainment that aims to amuse and entertain audiences by using humor, wit, and comedic situations. Comedies are created with the primary intention of eliciting laughter and providing lighthearted enjoyment. They encompass a wide range of styles, tones, and themes, appealing to various tastes and audiences.

Will Ferrell, Angela Grillo, and Lap-Gei Cheung in Anchorman: The Legend of Ron Burgundy (2004)

The horror genre features stories that aim to elicit fear, suspense, and a sense of dread in its audience. Horror stories often explore themes related to the unknown, the supernatural, and the macabre, and they frequently evoke strong emotional reactions such as anxiety, terror, and unease.

A one-night stand with a mysterious woman proves deadly when the disloyal husband discovers that she is a ghost.

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Rosamund Kwan and Jing Wong in Gui gou ren (1989)

Pak-Cheung Chan and Charlie Cho in Gui gou ren (1989)

Gui gou ren

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