Juno Mak’s debut feature Rigor Mortis is an eerie and chilling, contemporary action- and special effects-laden homage to the classic Chinese vampire movies of the 1980s.
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Young urban couple Ed and Sarah are set to begin a new life when they move from London into an isolated borders Scottish farmhouse. After falling in love with the 19th century Castle Farm and seeing its potential as a fixer-upper they are anxious to get started on the renovations. In bed on their first night Sarah thinks she can hear noises in the darkness but Ed is disbelieving saying it’s her imagination playing tricks. Persisting in her fear they are not alone in the house, she forces Ed to investigate. When he doesn’t return after a scarily long period, she goes downstairs to investigate only to be confronted by a welcoming committee of masked intruders. As she desperately searches for Ed, a terrifying game of cat and mouse ensues with the mysterious assailants. But what do they want and what horrors do they have planned for the two newcomers?
In the sequel to the Tsui Hark classic, Wong Fei-Hung faces The White Lotus society, a fanatical cult seeking to drive the Europeans out of China through violence, even attacking Chinese who follow Western ways. Wong must also defend Dr. Sun Yat Sen, a revolutionary, from the military.
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The film’s plot follows that of the game closely. Nariko, a member of an ancient tribe who have guarded an ancient magical sword for thousands of years, is charged with bringing the sword to its destined wielder, a deity reincarnated who will bring peace to the land. But on her quest, Nariko must wield the sword herself against the forces of King Bohan, who wishes to possess the weapon himself.
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