Hong Kong DVD edition in widescreen letterbox (meaning a slightly cropped ratio?) with cantonese audio 2.0 and with
burnt in english subtitles in an old Ocean Shores DVD release. Remember watching this sickie almost 30 years ago,
and in awe for the extremely charismatic and beautiful Carrie Ng. She was the female equivalence to Simon Yam,
both very good- and slick charismatic looking and both able to portray inhuman evil with ease.
The gorgeous Carrie Ng, also as with Simon Yam a versatile accomplished actor seen in serious dramas, is probably
best known in the West for her role in Naked Killer where she plays Princess the Lesbian professional killer.

In this film, a mean-hearted trashy Sleaze horror, she plays a frightening and morally rotten woman who starts helping
a serial killer with his crimes, obviously being sexually aroused by the murder of the victims. Nasty, but not too far
from the reality where the most reprehensible killers and rapists receives tons of fan mail and marriage offers. Yuck!


The Wave of Hong Kong Category III or Cat. III movies, perhaps one of the most unhinged genres of Film History,
The Sleaze Horror, started to die with, I guess the 1997 takeover by Mainland China (a partial reason anyway, maybe
HK cinema goers had got tired of all the sleaze and depravity ?). The Hong Kong film industry had to seriously start
paying attention to the many strict rules regarding censorship in the mainland. This to be able to export their films
to mainland China where the huge audiende were situated, an economic necessity for HK filmmakers also to get
financing in the future.

So, even though the Cat. III censor category still exists when writing this in 2023 there will be NO more Untold Story,
Dr. Lamb, Run and Kill et al. R.I.P. crazy but entertaining Hong Kong trashy sleaze horrors.
This with some exceptions as i.a. the Ultra violent 2010 Slasher-Horror
Dream Home (Wai dor lei ah yut ho) directed
and co-written by Pang Ho Cheung
. But then, the filmmakers didn't care about the mainland market as a No. 1 prio
and catered mainly to the HK and western arthouse audiences.

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