Film Review: Out of the Dark (1995)

Very Average Joe
Oct 18
3 min read

Title: Out of the Dark

Chinese Title: 回魂夜 [lit. night of returning soul]

Director(s): Jeffrey Lau

Screenwriter(s): Jeffrey Lau

Studio: Cosmopolitan Film Productions

Released: 1995

Runtime: 1h 26m

Starring: Stephen Chow, Karen Mok

Whilst Stephen Chow is internationally more known for Shaolin Soccer (2001) and Kung Fu Hustle (2004), Out of the Dark is different from the usual material, being a horror comedy.

Released in 1995 when Chow had already made his name (in Hong Kong), Out of the Dark did not perform as well as some of his other works at the box office (~HK$16.28 million) and, for some, probably got lost amongst all his other titles. That said, it’s not as if it wasn’t talked about at the time or has since been forgotten as the film has its memorable moments.

Set in a typical apartment block, the film opens to Mrs Lee, who lives on the ninth floor, paying her respects to her mother-in-law who had passed away days earlier. As the Chinese title indicates, the deceased returns home a few days after death before moving on to being reincarnated. The neighbors accuse Mrs Lee of negligence that led to the death. They are hardly reliable but it does beg the question of the circumstances surrounding the death.

Meanwhile, a young woman who lives in the building, Kwan (Karen Mok), is going through a breakup and is bored, and the stereotypically incompetent security team members are also bored and/or have their issues.

Of course, a mysterious man named Leon (Stephen Chow), who acts like some sort of ghostbuster, turns up at just the right time, ready to deal with the returning soul…

The premise is simple and what follows is in many ways the typically stupid, semi-deadpan humor Chow is known for. Although his style is a deliberate absurd contrast to just about any situation, it is more so for horror which makes it all the more comical. In this regard, it is different from his other films.

Visually, it is also darker than his other works. It is a credit to director and screenwriter, Jeffrey Lau, and cinematographer, Wong Chi-wai, to not dumb down the horror elements just because it is a comedy.

The plot spans a few days and nights, so there are daytime scenes, but it definitely has its share of nighttime scenes. In any case, there is the effective use of tight shots, different camera angles and high-contrast lighting typical of the genre. If anything, there could be more of that stylization.

The opening act is paced very well, nicely setting up the situation and characters. The intrigue is captivating and the characters, particularly the incompetence and stupidity of the security, are comical. The dialogue, whilst not chirpy, is sharp enough and there are a few memorable lines. This, of course, assumes one has at least some understanding of Cantonese.

Apart from the conflict of dealing with the returning soul, there is the secondary conflict between Leon and the security team. The latter knows they need help but they are not entirely convinced Leon is the real deal, he could just be a crazy person. This is one of the themes, that there is a relationship between fear, imagination and illusion, although at no point during the film is the supernatural presented as not real.

One of the weaknesses of the film is that the pacing in the second act stagnates somewhat. Although Leon teaching Kwan and the security guys about ghostbusting is funny, it drags a little as it transitions into the final act. The tension during said transition doesn’t entirely work but the pace and action pick up for the final act.

The other weakness is that there is too little character background for Leon and Kwan, even for a comedy. The two are a parody of the French thriller The Professional (1994) but apart from their appearance, the pot plant and that both are misfits, there are no obvious parallels. Not much is known about them, the two hitting it off is a little convenient and the parody can be taken further.

Despite these weaknesses, it is overall a solid film and arguably one of Chow’s better works. Visually, it is nicely shot and edited. Throughout the film, there is effective use of sets/locations and vertical space; the lobby, the narrow corridors and stairways, elevators and the adjacent arcade of shops, amongst others, all contribute to the atmosphere—one really feels like they are in a multi-floor apartment building. Longer takes going between corridors and floors would enhance the creepiness but that is not a major flaw.

Horror comedy is not something Chow usually does, which is a shame because he is capable of delivering if given a decent script.

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