Mo
監督:Kuei Chih-HungAfter his brother was crippled in the ring by a cheating Thai boxer, Chan Hung goes to Thailand to avenge his brother, and finds the key to an omen which may release their family from an ancient curse. He is then caught up in a spiraling web of fate, Buddhist curses, and black magic.
Moの評価とレビュー
- wushu612025年11月17日This early 80s gem is what’s missing from modern movies. It delivers on everything expected and unexpected. If you love the idea of Lucio Fulci, Sam Raimi, Alejandro Jodorowski, Terry Gilliam with a flavor of eastern mysticism, then you should be sold by this movie.
- jackmeat2025年11月10日My quick rating - 6.8/10. Every now and then, a movie comes along that feels less like a film and more like a panic dream induced by expired shrimp. The Boxer’s Omen is one of those cinematic hallucinations. A genre-defying mix of kung fu, black magic, glowing intestines, and Buddhist enlightenment, all wrapped up in a technicolor Saran Wrap nightmare courtesy of the Shaw Brothers. It starts off deceptively normal: a gritty revenge setup involving a Hong Kong boxer named Chan Hung (Phillip Ko) seeking payback after his brother gets crippled in a match against a cheating Thai fighter, Bolo Yeung. Mr. Hong Kong flexes his way through the opening fight like it’s another Tuesday. But then, somewhere between the revenge plot and the next roundhouse kick, the movie opens a portal straight into the ninth circle of bonkers. Chan Hung’s journey to avenge his brother turns into a psychedelic pilgrimage through Buddhist mysticism, black magic, and the world’s most questionable practical effects. We’re talking spiders that look like they escaped from a Temu Halloween sale, flying puppet bats on visible strings, and crocodile skulls that “attack” with all the menace of a malfunctioning wind-up toy. And yet, there’s an undeniable charm in how earnestly it all plays out. The camera work is surprisingly creative using tight angles, swirling motion, and neon lighting that would make Dario Argento proud. The soundtrack? Pure 80s synth glory. It punctuates every ritual, vomit session, and monk battle like the composer was having the time of his life with a Casio keyboard and no supervision. Speaking of the rituals, I’ve seen some wild ones in horror, but this film takes the incense-scented cake. We’re treated to a rebirth sequence involving a corpse stuffed inside a gutted crocodile, some very slimy black magic duels, and enough maggots to make David Cronenberg blush. It’s equal parts mesmerizing and revolting, and impossible to look away from. Despite its insanity (or maybe because of it), The Boxer’s Omen has a kind of hypnotic beauty. The Shaw Brothers’ production gives it slick locations across Bangkok, Kathmandu, and Hong Kong, and there’s a genuine sense of ambition buried beneath the goo, claymation, and vomit. You don’t watch The Boxer’s Omen for logic. I watched it because my brain occasionally craves chaos, and this movie delivers it in glorious, Saran-Wrapped fashion. It’s gross, it’s goofy, and it’s absolutely unforgettable. If you think you’ve seen it all in cult cinema, think again. This one doesn’t just think outside the box — it eats the box, regurgitates it, and uses the remains in a black magic ritual. Not for everyone but after reading this, you know if it is for you.
Moに関するトリビア
Moは1983年10月29日に公開されました。
MoはKuei Chih-Hungが監督を務めました。
Moの上映時間は1h 45mです。
MoはMona Fong Yat-Wahがプロデューサーを務めました。
After his brother was crippled in the ring by a cheating Thai boxer, Chan Hung goes to Thailand to avenge his brother, and finds the key to an omen which may release their family from an ancient curse. He is then caught up in a spiraling web of fate, Buddhist curses, and black magic.
Moの主要人物はChan Hung (Phillip Ko Fai), Abbot Qing Zhao (Elvis Tsui Kam-Kong), Chan Hung's Girl (Wai Ka-Man)です。
MoはNot Ratedと評価されています。
MoはAction, ホラー, ファンタジー映画です。
Moは、視聴者によって10点満点中7点をつけられています。