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An EVIL Alien Blob Storms Earth in Search for Space Feline! “The Cat” reviewed! (88 Films / Limited Edition Blu-ray)

Posted by Steven Lewis on

If you missed the Blu-ray, “The Cat” Standard Edition is Available!

Storytelling author Wisely recounts one of his more fantastical pieces originating from more truth than fiction.  The writer reminisces investigating the mysterious occurrences surrounding a black cat and a young woman involved in a museum heist of an ancient, unknown artifact and, previously, in a strange encountering with Wisely’s friend Li Tung involving strange hammering noises and strewn about cat guts in an adjacent apartment.  Wisely soon discovers he’s bitten off more than he can chew becoming mixed up in extraterrestrial battle between the gentile but fierce fighting space cat and the young woman from another world versus a vicious and imposing orange alien blob that can inhabit dead humans and slip through tight confining spaces, leaving a burn trail of electrified bodies in its wake.  Wisely and his girlfriend, Pai so, decide to help the girl retrieve a second piece of the artifact that be used as a weapon against the relentless alien aggressor before the cat and girl can return to their home planet.

A strange science fiction thriller hailing from Hong Kong, “The Cat,” or “Lo mau,” is the 1991 filmic adaptation of author Ni Kuang’s “Old Cat” from a part of the Wisely adventure series of novels.  Written by frequent collaborating screenwriters Hing-Ka Chan and Gordon Chan (“Cat and Mouse,” “Behind the Yellow Line”) as well as numerous team-ups of Hing-Ka penning Gordon director helmed works (“Beast Cops,” “Thunderbolt”) and directed by “Riki-Oh:  The Story of Ricky” director Ngai Choi Lam, “The Cat’s” bizarrely unraveled as it is unrivaled but evokes a commingling of Hong Kong mysticism, science fiction, horror, and creature personification that’s hard to find not entertaining in its converging Daoism with creature feature movies!  Golden Harvest and Paragon Films, in association with Japan’s Nippon Television Network as a Hong Kong-Japanese alliance, are the companies behind the picture production with Chan Tung Chow (“Riki-Oh:  The Story of Ricky”) and Seiji Okuda (“Pulse”) as producers.

Hong Kong beauty Gloria Yip (“Riki-Oh:  The Story of Ricky,” “The Blue Jean Monster”) took Hong Kong cinema by storm in the early 90s before quietly taking a step back from acting to focus on building a family when newly married in 1995.  Since her divorce, Yip has been active in the last decade and half but to experience her best, early work, “The Cat” is a good start to behold her natural girl-next-door charisma and attractive attributes as an alien inside a human body.  Where she obtains this human form is unknown and her species social status, her name or how she became trapped on Earth is also vague, but Yip’s character can float waltz and is seemingly the caretaker of the Cat, who is a general of sorts in the alien race.  Her alien sidekick, Errol (Siu-Ming Lau, “Shaolin vs Evil Dead:  Ultimate Power,” “A Chinese Ghost Story”), too has an equivocal backstory as they search for weaponry relics and evade the caustic and electrically charged blob monster that threatens their world.  The story falls in more in tune with the three friends buried by the extraterrestrial struggle for survival and dominance with “A Chinse Ghost Story II and III’s” Waise Lee as principal lead character Wisely, a humble story writer living off the riches of girlfriend Pai So (Christine Ng, “Crime Story”), at least based on their dialogue of her owning a big house, playing tennis, and providing.  It’s an oddly laid out relationship that shows no quarrel or being tested when up against alien beings.  Li Tung (Lawrence Lau, “3-D Sex and Zen:  Extreme Ecstasy”) is Wisely’s first friend to encounter the girl and cat as noisy above neighbors but it’s their cop friend, Wang Chieh-Mei (Philip Kwok, “Hard Boiled”) who takes the unfortunate brunt being inhabited by the alien blob and becoming a Rambo-arsenal assassin.  The last piece to “The Cat’s” cast is actually the “Old Cat” author Ni Kuang having a cameo appearance as a warrior dog handler, Processor Yu.

Did I mention already that “The Cat” is beyond bizarre?  The campy story suffers from connective tissue deficiency syndrome, meaning there’s not enough exposition or explanation in the subdued, mild-manner interactions to really bring together and segue the really cool action and creature sequences that involve, but not limited to, pyrotechnics, forced perception effects, stop-motion, blood squibs, prosthetics and makeup, and high-flying wire acts involving not only people but cats and dogs!  The cat versus dog fight is a rough-and-tumble showstopper.  The special effects and choreographic teams of Hong Kong’s special makeup effects artist Chi-Wai Cheung (“Riki-Oh:  The Story of Ricky”) and stunt coordinator Philip Kwok taking their cogs and working into the grand effects design along with Japan’s f/x crew from visual effects artist Takashi Kawabata (“Dark Water”) and special effects Shinji Higuchi (“Gamera, the Guardian of the Universe”) is a masterful amalgamation of two cultures and two styles into one, blending high-flying acrobatics with the strange, bold stop-motion and visual effects that incorporate puppets and molds is optical buffet aimed stimulate and confound.  Nearly experimental in its narrative and effects while bordering being derivative, such as from the 1988 “The Blob” remake, “The Cat’ prowls, growls, and meows as a welcoming hot mess of feline phantasmagoria. 

On a new limited-edition Blu-ray set with exclusive, new artwork by graphic artist Sean Langmore, “The Cat” purrs with a fully-loaded, out of this world high definition release from UK label 88 Films and distributed by MVDVisual in the North American market.  A new 2K restoration of the original 35mm negative is encoded on a AVC encoded BD50 with a 1080p resolution in an aspect ratio of 1.85:1 widescreen.  Image presentation has the stellar glow of regular Hong Kong film stock, a stock that doesn’t dilute the defining particulars but only softens them slight.  The original negative has withstood the test of time and any improper handling providing the restoration effort with a focus-driven goal of grading and detail. The other side of that coin is that all the rubbery and irregular textures are now more in the spotlight instead of being lost in the lower resolution and more opaque video qualities.  Brilliant gel lighting and a comprehensive range of primary reds and blues coupled with an electric orange and blood red of the antagonistic monster seduces contrastingly inside a dark atmosphere with a story mostly told during the nighttime hours.  Remastered with a Cantonese DTS-HD mono track, the compositional track is about as good as it’s going to get but that’s not saying the audio is bad at all.  Clean and clear in ADR dialogue and distinct in the ambience and action, “The Cat’s” remastering is mighty without being punchy with broad-range, consistent audio that doesn’t have any holes poked into it and has an epic, original score by Phillip Chan (“Her Vengeance”).  Newly translated English subtitles are burned onto the only video file feature.  The encoded special features include an audio commentary by Asian film expert Frank Djeng of the NY Asian Film Festivial, a new interview with writer Gordon Chan in Cantonese with an English introduction, the Japanese cut of the film in standard definition, an image gallery, and theatrical trailer.  All of the encoded features will be available on the limited-edition and standard release sets.  Langmore’s artwork graces the LE O-ring slipcover and rigid slipbox with a crazy illustrative arrangement that details how bonkers “The Cat” gets.  Inside the slipbox, a full-bodied colored and detailed booklet with more original Langmore artwork, one sheets, stills, and other contents that include cast and crew acknowledgements, a Paul Bramhall retrospective essay on director Ngai Choi Lam That Cat is Dangerous, a second essay in regard to Nai-Choi’s niche cinematic credits by Matthew Edwards entitled Body Horror, and a special thanks roundup and more acknowledgements in the making of the Blu-ray release.  There’s also a collectible art card stuffed in between the clear Amaray case and the booklet.  The reversible cover art’s secondary slip-shell is of an original poster art, a good alternative to an already overused Langmore illustration that’s on the O-Ring and slipbox.  While not a numbered limited-edition release, news of the set already being or nearly sold out at most retailers is circulating, but there will be a standard edition slated for release late November ICYMI!  The not rated release has a 89-minute runtime and is encoded region A and B for playback.

Last Rites: Ngai Choi Lam’s science fiction, body horror, and creature feature inundated “The Cat” has all the weirdness and practical prosthetics, including deeply bizarre force perception visuals, that’s beyond our galaxy and capacity for understanding, landing with great precision onto a well-deserved, highly anticipated, and must own 88 Films’ limited-edition boxset!

If you missed the Blu-ray, “The Cat” Standard Edition is Available!

Prepare Yourself for the Side-Splitting EVILS of Adultery. “Sex and Zen” reviewed! (Umbrella Entertainment / Blu-ray)

Posted by Steven Lewis on

A Must-See, “Sex and Zen” is highly erotic and highly funny.

A wealthy educated man is arranged to marry the beautiful and sexually naïve daughter of a high scholar.  After persuading her sex being a cornerstone to a healthy marriage, she quickly concedes to his insatiable desires.  Yet, the man wants more and decides to venture out into world seeking passionate sexual escapades and when he happens upon a distinguished scoundrel, who’s good at swordplay, martial arts, and as a carnal adviser, the man is schooled about his insignificant manhood needing to be the size of a horse’s.  The obvious thing to do, transplant his penis with a horse’s.  The comical insanity pursues from then on out with the man falling for not only the brutish fabric maker’s wife, but also a bisexual noblewoman with a jealous lady lover.  When the scholar’s secret is found out, the jealous lover imprisons the man’s stay-at-home wife into prostitution, spearheaded by the seduction of the vengeful fabric maker posing as the house’s new gardener.  

Attuned to the same idea as war and peace, “Sex and Zen” is a delicate balance of control between the two and the dire consequences suffered if the sanctity of matrimonial fidelity is not respected.  Hailing from Hong Kong under the infamy of the Category III rating and with surprising staggering budget of approx. 4 million USD, director Michael Mak’s artfully erotic 1991 sex-comedy is by far one of the most entertaining of its genre ever to be produced into the world.  Michael Mak, the director of the three sequels following the “Long Arm of the Law” after taking over the franchise from his brother Johnny Mak, helms a script penned by “To Be Number One” writers Alexander Lee and Ying-Chiet Lee, based loosely off the drama-tragedy novel “The Carnal Prayer Mat” by Yu Li.  While definitely not a mirror dramatization of Li’s novel, “Sex and Zen’s” melodrama is in full-frontal effect with outlandish sex organ transferring and fiendish-flings and betrayals that make this slapstick an absolute riot.  Raymond Chow’s Golden Harvest (“Game of Death,” “The Man from Hong Kong”) and Michael Mak’s brother’s company, Johnny Mak Productions,” build “Sex and Zen’s” luxurious sets and wardrobe, bright with colors and backed by phenomenal talent. 

“Sex and Zen” is only as good in its absurdity as it’s actors and actresses and, fortunately, Lawrence Ng and Amy Yip, and amongst the others, infuse and imprint themselves to the carnally comically characters with pleasure.  Ng (“The Underground Banker,” “Madame Q”) plays the travelling sex alcoholic husband Mei Yeung-Sheng to “Erotic Ghost Story’s” Amy Yip character, Huk-Yeung.  Huk-Yeung is an in the closet nympho taught to be disgusted by sex from her father’s puritanical stance.  Though Ng. and Yip’s scenes are few, they sizzle as explorers of each other’s bodies with Ng portraying shameless lust for the flesh against Yip’s innocent purity.  When Mei Yeung-Sheng ventures out into the world seeking erotic flings, that’s when Kungfu superstar Lieh Lo (“Fiver Fingers of Death”) enters the fold as the famous masterful thief Choi Kun-Lun who not only steals from the rich and gives to the poor as a Robin Hood-esque martial arts bandit but also becomes the sexual advisor to a hapless Yeung-Sheng and his itsy-bitsy trouser snake problem.  Lo’s hilariously cavalier and unpredictable in his performance that offers a divergent against the constant yearnings to follow the graphic depictions of pornographic picture art.  The scholar becomes entangled with an abused fabric seller (Japanese-born actress Mari Ayukawa, “Groper Train Hurry Up and Come”) and, in consequence, the fabric seller’s husband Wong Chut, a ultra-physical ruffian played vigorously intensive by Elvis Tsui (“The Boxer’s Omen”), who has a vendetta against the scholar and has an affair with the scholar’s wife that leads to prostitution, frail health, and immense guilt in an parable about the misconduct of unchecked sexual liberties.  “Sex and Zen” rounds out with a solid cast in Hong Kong comedian Kent Cheng (“Dr. Lamb”), Isabella Chow (“The Nocturnal Demon”), Carrie Ng (“Angel Terminators”), and Feng Tien (“Fist of Fury”) as the Sack Monk who warns about lust-induced karma that pulls the story into a full arc.

“Sex and Zen’s” mighty price tag is beyond being obvious with elaborately detailed set designs and structures, equally elegant and era appropriate wardrobe and makeup, elevated stunt work that blends highflying Kungfu with softcore eroticism, a physical and omnipresent choreography, and a few complicated shots, especially the one involving the back-and-forth editing of above and below the surface of a steamy hot tub sexual assault-to-fantasy fornication.  The inexplicit story can be difficult to follow at times without much being conveyed to what the characters are doing, especially in the first act that jumps from a licentious Mei Yeung-Sheng debating with a temple-residing Sack Monk on the principles of polyamorous relationships, to the scholar fulfilling his engagement to and the slow deshelling into wanton exercises of the aristocracy daughter, to finally his sudden departure from her as he ventures out into the world for untamed carnal delights with strange women.  From that point, “Sex and Zen” becomes a little more cohesive and coherent, building upon the scholars need for a bigger penis at the suggestion of his newfound friend Choi Kun-Lun and bedding the wife of a loutish fabric maker while paralleling a forbidden lesbian love affair of two stepsisters without the meddlesome of man in the mix.  As Mei Yeung-Sheng and the lesbians’ paths collide, stiff and unforgiving karma catches up to each and every one of them with the welting sting of tit-for-tat cuckolding.  Yet, Mak’s depiction of the story is wilder than the slapstick and melee humor with a stark contrast of, or maybe a complete overshadowing all together of, the perversion of foreign sex toys.  From the hilt of a scroll brush to both ends of a golden flute (I’ll let that visual sink in), the women of “Sex and Zen” have a knack for insertion talents in this Hong Kong Cat III sideshow of debauchery and comedy. 

Coming in at #2 on Umbrella Entertainment’s Sensual Sinema label, “Sex and Zen” lands on a sleek Blu-ray home video from the Australian distributor. Presented in a widescreen 1.85:1 aspect ratio, the “Sex and Zen” Umbrella Blu-ray has impeccable full high definition, 1080p quality that pops right off the screen. The original 35mm transfer has a healthy amount of good grain and the colors lavishly seize control over every scene with a full-bodied range of hues. Blacks are inky and unaffected by any major artefact issues and the skin shades are poor-riddles and hair-laden in every since of the detail spectrum. Umbrella’s Blu-ray offers two audio options with a Cantonese 5.1 DTS-HD master audio with optional English dub or a Cantonese 2.0 Dolby Digital stereo with optional English dub. The dubbed-dialogue overlay is slightly asynchronous with the image, but there’s robust dialogue amplification centralized out of the five channels coinciding with isolating individual ambient sounds, such the swooshing of the swordplay or the chains clinking during acrobatic coitus. Special features are a little slim and of yore for a second title on a new sublabel, but the release offers an achieved, English-subtitled interview with director Michael Mak diving into the budget, working with the actors, and creating certain scenes. The theatrical trailer is also available on special features. The hot pink Sensual Sinema cardboard slipcover has a retro impression with various posters of the film on the slip and the snapper case surrounded by also a hot pink border. The film is listed as region B coded but played on my region free player without issue, runs at 95 minutes and is rated R+ for high level sex scenes. “Sex and Zen” is, by far, one of the best and most fetishized sex comedies ever produced and though a notorious Hong Kong CAT III production, the film is absolutely riotous and one-of-a-kind, deserving of praise from hedonistic crowds around the globe.

https://www.youtube.com/watch?v=cQu4cJGmNeQ

A Must-See, “Sex and Zen” is highly erotic and highly funny.