Set in a surprisingly minimalist San Francisco, Patrick Tam’s stylish slasher movie manages to evoke both Antonioni and Mario Bava in this tale of a ravishing young co-ed (Brigitte Lin) whose studly boyfriend (Chang Kuo-chu) turns into a demented stalker after the suicide of his sister.
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Anyone who calls this "pseudo-auteur", is clearly not familiar with Tam's other work - or are at least not familiar with the aesthetic history of Hong Kong/Chinese cinema of this period. Apart from the colour palette, this is far more Yoshida than it is Antonioni. I'd argue that this is one of the grand technical achievements of the HK New Wave. What holds this film back, is the fact it's riddled with compromises.
Obsessed by geometries and paintings Tam succeeds to deliver a sort of masterpiece even though the plot holes. Beware of the usual laughable comments by people who fails to put a movie into the context it was born. These people really deserve their favourite "authors".
I just sort of liked it. Not too thorough a recommendation, I know. I laughed at the term "pseudo-auteurish" used in a previous comment. So true, but I can look past that. The version that I saw was cut to shreds. Very easy to tell. If it wasn't so silly the fun would be gone. It is silly, so it is filed away in my retro slasher folder along with He Lives By Night, Night Caller and Devil Returns.