The Third Chinese Ghost Story It's not just a movie. This is a visual textbook of staging skills. You do not need to strain, just if you do not delve into the plot details and not be immersed in events, it is not difficult to notice frank minimalism. All actions take place in one pavilion (with minor exceptions), and special effects are formed due to the skillful installation and work of the artist. It is important that the director, with all these restrictions, does not slide into theatrical action, but gives himself a quite wealthy and atmospheric horror.
If we discuss the plot and everything substantive, then here it seemed to me that the picture was well stretched. As if there was nothing to say, so they enjoyed the atmosphere. All right. In this story there will be many ghosts, as well as a completely indecent (forbidden) love between a ghost girl and a young monk. Tony Leung Chu Wei convincingly copes with the main role, thereby increasing the interest in the film among many fans of Asian cinema.
One can argue for a long time about why this actor, who had already gained quite decent momentum by that time, agreed to a frank genre utility. And there can be many answers. But it seems to me that in those years, actors in Hong Kong were not very independent (the sad case of Karina Lu is proof of this). I believe that it is in some dependence and even servitude that one should look for the roots of Leung’s appearance in a number of obviously passing tapes.
5 out of 10