Film Name: 异灵灵异2002 / Unveil The Mystery
A film that proves my childhood taste. Adding one point for nostalgia, giving it three stars.
A random memory brought this movie back to mind, so I dug it out for another watch. I realized my childhood taste wasn’t great—or to save face, I’ll say I only noticed its strengths back then.
The film’s strengths are obvious: it boasts excellent creativity. The foundation of ghost stories is superstition, and superstition is rooted in tradition. Thus, even non-horror ghost films set in modern cities struggle to shed their traditional aura. 2002 masterfully blends ghost stories with contemporary settings. Modern law enforcement becomes the protagonists’ backdrop, battling ghosts either with modern tools or through ghostly partners—transforming into a whimsical action flick filled with flying stunts, while sidestepping traditional exorcism tools like yellow paper and peachwood swords. The occasional comedic moments in this film also elicit knowing smiles.
Stripping away the nostalgia filter, the film’s flaws become quite apparent. First, the fight scenes: filmed in 2001, Hong Kong cinema of that era still prioritized realistic combat choreography. Yet the fight scenes here are clearly sped up. The “ghost-repelling water” and “ghost-fighting gloves” seem designed solely to let the protagonist grapple with spirits—though isn’t that redundant? I expected their distinct uses to be revealed later, but they never were. Overall, the action design is just poor. As for the plot design, the traditional “one human, one ghost” dynamic—where the human struggles against death—evolves into a partnership between two people. The main storyline flows reasonably well. However, Feng’s romantic subplot is utterly baffling and creepy. He inexplicably picks up the second female lead’s ID and single-mindedly decides to pursue her, even going so far as to deceive an amnesiac into believing he’s her boyfriend. Stalker Alert! Honestly, I want to scold my past self for ever finding this romantic. Xie’s love story was actually well-crafted—his tragic star’s struggle and the irresistible pull toward the female lead. But both Xie and the female lead’s acting couldn’t carry the plot. Xie was already terrible, perpetually tilting his head to maintain his idol persona. The female lead was completely out of it throughout, especially with those ridiculously thick eyebrows someone drew on her. During her scene laughing hysterically in the restaurant, I wanted to scream, “Someone splash holy water on her—she’s possessed!” And the director just couldn’t resist his comedic impulses! While some of these comedic bits are genuinely funny on their own, they often clash with the drama, diluting the sorrow built up in the story. Moreover, the film’s transitions are painfully abrupt, constantly cutting to Xie and Feng running through tunnels. While we get that they’re trying to look cool, the repetitive nature becomes tiresome.
If this script were properly refined and entrusted to a more talented cast, it could easily become an excellent classic film.
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