Cheng Lai-sheung is a young, upwardly mobile professional finally ready to invest in her first home. But when the deal falls through, she is forced to keep her dream alive—even if it means keeping her would-be neighbors dead. Pang Ho-Cheung’s disturbingly imaginative violence unfolds against a backdrop of lifestyle fetishization and the housing market crisis in this metropolitan spin on Guignol horror. —Tribeca Film Festival
Pang Ho-cheung was born in Hong Kong in 1973. In 2001, Pang directed his first feature, You Shoot, I Shoot, which won the Best Screenplay at the Hong Kong Golden Bauhinia Awards. In 2003, his second feature, Men Suddenly in Black won the Best New Director Award, and garnered Tony Leung Ka-fai a Best Supporting Actor Award at Hong Kong Film Awards. In 2004, Pang finished his third feature, Beyond Our Ken, which featured in the retrospective program “Hong Kong New Power – Pang Ho-cheung” at the Tokyo International Film Festival. Pang was praised by Variety for a style reminiscent of an early Claude Lelouch. This film was selected as one of the “Top 10 Chinese Films” and won the Best Screenplay prize at the Hong Kong Golden Bauhinia Awards. Pang’s fourth feature, AV (2005), again was selected as one of the “Top 10 Chinese Films” at the Hong Kong Golden Bauhinia Awards and was also selected in competition at the 8th Deauville Asian Film Festival. A Hollywood company has already bought the… read more
Wavers between amateur hour and shockingly effective violence. I give it a pass based on its nihilistic vision of the American dream (home ownership) in the context of a contemporary economic/social dystopia. The non-linear narrative eventually builds suspense, and the direct political message is pardonable in the genre. Excited to see that there's room in Asian horror cinema for more than the supernatural.
I can't really say why I liked this movie other than the fact that Josie Ho is a very watchable actress. This is one of the most violent films I've seen in a lifetime of watching horror but the blood and gore is mostly computer-rendered, robbing it of much of its impact. Basically, a Category III flick for the arthouse set.