In this eerie and chilling, contemporary, action/special effects laden homage to the classic Chinese vampire movies of the 1980's, writer-director-producer, Juno Mak makes his feature directorial debut. Co-produced by J-Horror icon Takashi Shimizu, and reuniting some of the original cast members of the classic Mr. Vampire series, RIGOR MORTIS is set in a creepy and moody Hong Kong public housing tower whose occupants we soon discover, run the gamut from the living to the dead, to the undead, along with ghosts, vampires and zombies.Written by
Michael J. Werner
The tall ghosts that cross the hallway carrying parasols are based on Chinese reapers. Three variations include: * A reaper that returns a soul 7 days after they die to home. They return the soul to their home to say goodbye to loved ones before being taken to hell. * Reapers that collect a lost soul that has wandered for 7 days. * A reaper on the hunt for wandering souls that they trap in their parasol. It is used as a net. This is where the superstition originates that you must not open one indoors should it contain a ghost. See more »
Towards the beginning, we see Pak exiting the elevator through a reflection of Chin's sunglasses. In this image, we also see the floor number 24. However, since this is being seen via reflection, the number 24 should be reversed as a mirror image, but it is not. See more »
The split-second image that pops up before the cast credits begin, is actually of the director, Juno Mak, who is sitting on seat 13. See more »
Revival of the dead also revives Hong-Kong cinema.
Rigor Mortis, alongside Dream Home (2011) and Vulgaria (2012) is a string of strikingly local, one-hundred percent "Made in HK" cantonese productions thoroughly tickling the film buds of HK-cinefreaks like myself.
Prepared in a film industry long perceived as dead by me. One that since have been focusing on mainland China as its' main moviegoer, racking up Chinese-produced spectacles featuring dubbed mainland performers when not dishing out Lan Kwai Fong 1,2,3. This is a very, if not exceptionally, welcomed piece of what drove me to HK-cinema in the first place.
Take a slice of 80's hopping vampires sans the comedy, blended into perfection with stylish visuals, Ju-On-esque storytelling, loads of urban cantonese profanities and one can totally engulf himself in a genuine Hong-Kong movie experience. One rarely stumbled upon today.
Thank you, Juno Mak!
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