I'm looking for recommendations for Hong Kong horror movies that also feature a reasonable amount of martial arts. I've seen most of the comedy horror titles, like Encounter of the Spooky Kind, Dead and the Deadly, Spiritual Boxer and the Mr Vampire series. I'm preferably looking for Shaw Brothers titles that go heavier on the horror but still have some martial arts in them. I've got Boxer's Omen and Human Lanterns on my list to watch but wondered what else fit the bill. It's research for a book. Plus, they're good fun!

Thanks in advance.

The General (1926) is an indisputable comic masterpiece. A hundred years on since its original release, there is little I can add to the pantheon of glowing reviews for silent comedian Buster Keaton’s tale of locomotive chaos in the American Civil War. So, I am going to focus mostly on what sets this new 4K package apart.

Keaton, the Great Stone Face, plays Johnnie Gray, a train engineer who becomes embroiled in the civil war when his train ‘The General’ is stolen by enemy soldiers, the northern Union Army, who want to burn railroad bridges and cause havoc for the southern Confederates, the heroes of this tale (yes, unfortunately).

And, lo and behold, those Union scallywags have also abducted his girl Annabelle. Johnnie must save the day, and the girl! This steam-powered 1860s-set tale comes packed with awesome stunts and set pieces, while also feeling more authentic and dramatic in tone than most comedies.

Eureka is releasing the film as part of its Masters of Cinema series, from a 4K digital restoration by the Cohen Media Group, presented in a new Dolby Vision HDR (HDR 10 compatible) grade. It comes with a score by Carl Davis and an absolute treasure trove of special features – Eureka has packed in more than two hours’ worth of new content to complement this brilliant movie.

It’s a huge step up from prior 1080 HD releases and well worth the upgrade. The success of this restoration is that it draws the eye to the striking black and white photography on display. I was taken aback by the beauty of the footage on this viewing - a quality of the filmmaking I hadn’t acknowledged beforehand.

The far more pronounced and distinctive colour gamut of the 35mm picture, the deeper blacks, the finer contrast of the dark and light shading, provide a rich depth to the image, accentuating the romantic elements of the drama. It also draws the eye towards the backdrop and flawless production design, all the finer details of the war going on while Keaton is in the forefront performing his comedic japes.

There's also a key section where the film plays with darkness and light as Keaton and his damsel in distress Annabelle are roaming through the dark and stormy forest. The richer black depths of the colour palette give this scene a real flair.

This clear and crisp restoration brings a quality of picture befitting of this awesome production with its astonishing visual storytelling. If any classic film deserved a 4K restoration, it’s indeed this one. Plus, Davis’ 1860s inspired orchestral score absolutely sings through the speakers.

It’s not only wonderful film to watch back - and bask in Keaton’s athleticism and comedic prowess - it’s also a great silent comedy to introduce people to the genre, due the grandeur and simplicity of its design. The 4K picture elevates the experience, giving Keaton’s journey an immersive quality. The perfect pairing of great storytelling and visual mastery.

Film: ⭐ ⭐ ⭐ ⭐ ⭐

Special Features:

David Kalat audio commentary: Kalat is a film commentator I always look forward to listening to. Here, he doesn’t disappoint, and once again seems to be in his element behind the microphone. Kalat’s commentary has a wry, tongue-in-cheek tone and he explores the film from a variety of refreshing angles. He speaks about the key figures who worked with Keaton that greatly influenced the picture, like his co-director, producer and lead actress. The film's mark on pop culture. The “WHYs” behind the movie.

Kalat is a master storyteller who has remarkable talent of weaving in and out of topics, while timing his commentary perfectly as the action unfolds on the screen. Comparing Keaton to another comedic actor, he states: "Buster Keaton's comedy was dry as a martini, Red Skelton is wet like a slobbery dog kiss."

Imogen Sara Smith's The General video essay (25mins): A fantastic video essay. Smith delves into the film’s shot composition, unpacking the “functional beaty” of Keaton’s movies. She also explores the nature of Keaton’s creativity and what influenced him. There are some great clips of a young Keaton's in his early film appearances with his mentor Fatty Arbuckle.

Luke Ryan on locomotives in the films of Buster Keaton video essay (52 mins): This extensive video essay feels like it expands on the previous one. It provides an in-depth  look at Keaton’s film history, focusing on his relationship with locomotives. It features some stunning clips of Keaton in colour, taken from Buster Keaton Rides Again made in the 60s, and behind the scenes clips of him grumbling about the shoot.

Ryan speaks about real story behind the movie, Andrews Raid in 1862 which was published as story in The Great Locomotive Chase. He then goes into why Keaton made certain changes to the narrative, like shifting the focus to the Confederacy. He also speaks about how key stunts and set pieces were conceived and achieved. Plus, a fantastic look at his post silent career. This is a must watch for a budding Keaton fan.

Limited edition booklet: Densley packed 40-page booklet with some great images. Kemp’s essay provides a decent overview of Keaton’s career with some illuminating details. Shaun the Sheep animator Haynes provides a highly entertaining essay, comparing traits of the animated work with the physical comedy of the silent era, focusing on the work of Keaton. The booklet also features a couple contemporary reviews of the film, from Kinematograph Weekly and the New York Time. It’s amusing to read how dismissive these are of the picture, which a hundred years later is viewed as a masterpiece.

Peter Kramer interview (42 mins): Excellent interview filmed by the BFI in 2016. Kramer contextualises why The General was a failure on release. He speaks about Keaton's level of success and why the audience would have found the picture problematic.

Eureka has also bundled a range of fantastic archival extra features.

Orson Welles' 12 minute intro is reliably charming and features clips from Keaton short films. Gloria Swanson's two minute intro is stylish and of its time. The four minute filming locations featurette has some amazing behind the scenes stories about the location. There's also an in depth 18 minute video tour archival featurette, which goes into the real life story behind The General. There's also one minute of home movie footage featuring Keaton in behind the scene shots.

Disc/package: ⭐ ⭐ ⭐ ⭐ ⭐

Eureka is releasing The General in 4K as part of its Masters of Cinema series on 18th May, 2026.

The General (1926) is an indisputable comic masterpiece. A hundred years on since its original release, there is little I can add to the pantheon of glowing reviews for silent comedian Buster Keaton’s tale of locomotive chaos in the American Civil War. So, I am going to focus mostly on what sets this new 4K package apart.

Keaton, the Great Stone Face, plays Johnnie Gray, a train engineer who becomes embroiled in the civil war when his train ‘The General’ is stolen by enemy soldiers, the northern Union Army, who want to burn railroad bridges and cause havoc for the southern Confederates, the heroes of this tale (yes, unfortunately).

And, lo and behold, those Union scallywags have also abducted his girl Annabelle. Johnnie must save the day, and the girl! This steam-powered 1860s-set tale comes packed with awesome stunts and set pieces, while also feeling more authentic and dramatic in tone than most comedies.

Eureka is releasing the film as part of its Masters of Cinema series, from a 4K digital restoration by the Cohen Media Group, presented in a new Dolby Vision HDR (HDR 10 compatible) grade. It comes with a score by Carl Davis and an absolute treasure trove of special features – Eureka has packed in more than two hours’ worth of new content to complement this brilliant movie.

It’s a huge step up from prior 1080 HD releases and well worth the upgrade. The success of this restoration is that it draws the eye to the striking black and white photography on display. I was taken aback by the beauty of the footage on this viewing - a quality of the filmmaking I hadn’t acknowledged beforehand.

The far more pronounced and distinctive colour gamut of the 35mm picture, the deeper blacks, the finer contrast of the dark and light shading, provide a rich depth to the image, accentuating the romantic elements of the drama. It also draws the eye towards the backdrop and flawless production design, all the finer details of the war going on while Keaton is in the forefront performing his comedic japes.

There's also a key section where the film plays with darkness and light as Keaton and his damsel in distress Annabelle are roaming through the dark and stormy forest. The richer black depths of the colour palette give this scene a real flair.

This clear and crisp restoration brings a quality of picture befitting of this awesome production with its astonishing visual storytelling. If any classic film deserved a 4K restoration, it’s indeed this one. Plus, Davis’ 1860s inspired orchestral score absolutely sings through the speakers.

It’s not only wonderful film to watch back - and bask in Keaton’s athleticism and comedic prowess - it’s also a great silent comedy to introduce people to the genre, due the grandeur and simplicity of its design. The 4K picture elevates the experience, giving Keaton’s journey an immersive quality. The perfect pairing of great storytelling and visual mastery.

Film: ⭐ ⭐ ⭐ ⭐ ⭐

#Special Features:

David Kalat audio commentary: Kalat is a film commentator I always look forward to listening to. Here, he doesn’t disappoint, and once again seems to be in his element behind the microphone. Kalat’s commentary has a wry, tongue-in-cheek tone and he explores the film from a variety of refreshing angles. He speaks about the key figures who worked with Keaton that greatly influenced the picture, like his co-director, producer and lead actress. The film's mark on pop culture. The “WHYs” behind the movie.

Kalat is a master storyteller who has remarkable talent of weaving in and out of topics, while timing his commentary perfectly as the action unfolds on the screen. Comparing Keaton to another comedic actor, he states: "Buster Keaton's comedy was dry as a martini, Red Skelton is wet like a slobbery dog kiss."

Imogen Sara Smith's The General video essay (25mins): A fantastic video essay. Smith delves into the film’s shot composition, unpacking the “functional beaty” of Keaton’s movies. She also explores the nature of Keaton’s creativity and what influenced him. There are some great clips of a young Keaton's in his early film appearances with his mentor Fatty Arbuckle.

Luke Ryan on locomotives in the films of Buster Keaton video essay (52 mins): This extensive video essay feels like it expands on the previous one. It provides an in-depth  look at Keaton’s film history, focusing on his relationship with locomotives. It features some stunning clips of Keaton in colour, taken from Buster Keaton Rides Again made in the 60s, and behind the scenes clips of him grumbling about the shoot.

Ryan speaks about real story behind the movie, Andrews Raid in 1862 which was published as story in The Great Locomotive Chase. He then goes into why Keaton made certain changes to the narrative, like shifting the focus to the Confederacy. He also speaks about how key stunts and set pieces were conceived and achieved. Plus, a fantastic look at his post silent career. This is a must watch for a budding Keaton fan.

Limited edition booklet: Densley packed 40-page booklet with some great images. Kemp’s essay provides a decent overview of Keaton’s career with some illuminating details. Shaun the Sheep animator Haynes provides a highly entertaining essay, comparing traits of the animated work with the physical comedy of the silent era, focusing on the work of Keaton. The booklet also features a couple contemporary reviews of the film, from Kinematograph Weekly and the New York Time. It’s amusing to read how dismissive these are of the picture, which a hundred years later is viewed as a masterpiece.

Peter Kramer interview (42 mins): Excellent interview filmed by the BFI in 2016. Kramer contextualises why The General was a failure on release. He speaks about Keaton's level of success and why the audience would have found the picture problematic.

Eureka has also bundled a range of fantastic archival extra features.

Orson Welles' 12 minute intro is reliably charming and features clips from Keaton short films. Gloria Swanson's two minute intro is stylish and of its time. The four minute filming locations featurette has some amazing behind the scenes stories about the location. There's also an in depth 18 minute video tour archival featurette, which goes into the real life story behind The General. There's also one minute of home movie footage featuring Keaton in behind the scene shots.

Disc/package: ⭐ ⭐ ⭐ ⭐ ⭐

Eureka is releasing The General in 4K as part of its Masters of Cinema series on 18th May, 2026.

Filmmaker Satyajit Ray was one of the greatest and most influential directors in world cinema. He would direct 36 films in total, including features, shorts and documentaries, starting with his first film Pather Panchali AKA A Song of the Little Road (1955) which was a widespread success, winning 11 awards including the first Best Human Document award at the 1956 Cannes Film Festival.

It was the first of Ray’s The Apu Trilogy, which also included Aparajito AKA The Unvanquished (1956) and Apur Sansar The World of Apu (1959), a trio of masterpieces, with him directing many other phenomenal pieces of cinema including Jalsaghar The Music Room (1958) Charulata The Lonely Wife (1964) and the subject of this review, Mahanagar The Big City, as I will refer to it for the rest of this review (1963).

The Big City is set in Calcutta in the 1950s and follows Arati (Madhabi Mukherjee), a housewife who lives in a cramped apartment with her husband Subrata (Anil Chatterjee), their young son Pintu (Prosenjit Sarkar), Subrata’s younger sister Bani (Jaya Bhaduri), and his father Priyogopal (Haren Chatterjee) and mother Sarojini (Sefalika Devi). Money is tight and Arati decides to go out to work, initially daunted by being in the big city alone and taking on a door-to-door sales job that she prospers at, despite Subrata’s disapproving parents.

Arati becomes friends with an Anglo-Indian colleague Edith (Vicky Redwood), who introduces her to modern Western ideas like wearing lipstick, and she grows more comfortable in the city. Arati enjoys her new-found independence, but her husband and his parents don’t like her working and try to encourage her to quit.

The film is full of highlights but the two that stood out for me were the perceptive script, written by Ray from a story called Abataranika by Narendranath Mitra. It’s a really strong story that is filled with plenty of conflict, but also some wonderful little character moments involving Arati’s family and some of those they encounter. It never feels melodramatic or over the top; we’re just left to observe a family trying to make ends meet and a woman who challenges the norm to make a path for herself, ultimately to help her family.

The story builds to a memorable climax that sees a conflicted Arati quit her job because of a huge injustice – her colleague Edith is fired by her boss (Haradhan Bannerjee) for feigning an illness, yet she actually was ill. I shall not spoil the rest but I found the final moments incredibly moving and filled with hope, in scenes wonderfully acted.

It’s the acting that is the other highlight for me. The film is filled with some incredibly natural performances that feel real, headlined by Madhabi Mukherjee as Arati, who is simply astonishing, and Anil Chatterjee as her husband Subrata. But they’re just the tip of the iceberg as I felt all played their characters well, from the young to the old and everyone in between. In that finale, Haradhan Bannerjee as Arati’s boss is also incredibly compelling and Mukherjee and Chatterjee are also excellent.

There’s a real sense of place thanks to some on location filming and excellent production design, which is all beautifully lensed by cinematographer Subrata Mitra. There are some remarkable shots and images throughout the film, with the actors shown in close-up and also beautifully framed, with window bars, mirrors and other furnishings used to help show how the characters are feeling at the time. The score is also memorable and perfect for the film, which is to be expected as it was composed by the multi-talented Ray.

The Big City is the eighth film of Ray’s I’ve seen thanks to the Criterion Collection, after The Apu Trilogy, Devi (1960), Charulata (1964), The Music Room (1958) and The Coward (1965), the latter of which is also included on this Criterion release. Each time I watch one of Ray’s films I find myself lost in his world; his movies are so captivating and evocative that it is as if time stops so I can just enjoy spending a couple of hours, give or take, with his characters and themes.

The Big City continued that trend. It is an outstanding piece of cinema that I couldn’t take my eyes off. It’s very perceptive in its look at a woman’s place in the modern world of the time, and paints a touching portrait of a family trying to make ends meet in their cramped surroundings. In Arati, the film has a really strong female protagonist who grows in confidence and empowerment as the film goes on; she makes her own way and ultimately stands up to injustice and finds her place in the modern world.

Film: ⭐ ⭐ ⭐ ⭐ ⭐

Special Features:

The interview with actor Madhabi Mukherjee: runs for 17 minutes and features warm and affectionate comments about Ray, why she likes his films, and also looks at her own experiences with the director. It's a good interview.

Next we have an interview with Ray scholar Suranjan Ganguly, who takes a look at the theme of women challenged by modernity that Ray returns to in The Big City, Charulata and The Coward. The 23-minute piece is really good, putting Ray in the context of a progressive India and highlighting key scenes and themes from the trio of films.

Up next is Satyajit Ray, a documentary short by B. D. Garga which dates from 1974 and features narration by Ray and footage from the making of The Big City. It runs for 14 minutes and paints a strong portrait of Ray, as it takes us behind the scenes of the making of a masterpiece. I enjoyed this one a lot for giving a strong insight into the director's working style.

The highlight of the extras is the aforementioned 70-minute film by Ray called The Coward, which stars Soumitra Chatterjee as an aspiring screenwriter who encounters a former lover when his car breaks down near her home. That former lover is played by Madhabi Mukherjee, one of the stars of The Big City. The Coward would be released in India as part of a double bill with The Holy Man. It looks very good in high-definition and is an intriguing look at modernity at the time it was made. It's well acted, beautifully shot and captivating. I enjoyed this one a lot.

In closing, Criterion have provided a modest but high quality selection of extras for the Satyajit Ray masterpiece The Big City, with two strong interviews, one with actor Madhabi Mukherjee and the other with Ray scholar Suranjan Ganguly, and headlined by two brilliant additional films, a documentary short portrait on Ray and the director’s 70-minute feature The Coward, which is great in its own right.

Disc/Package: ⭐ ⭐ ⭐ ⭐

Criterion releases The Big City on 11th May.

The General (1926) is an indisputable comic masterpiece. A hundred years on since its original release, there is little I can add to the pantheon of glowing reviews for silent comedian Buster Keaton’s tale of locomotive chaos in the American Civil War. So, I am going to focus mostly on what sets this new 4K package apart.

Keaton, the Great Stone Face, plays Johnnie Gray, a train engineer who becomes embroiled in the civil war when his train ‘The General’ is stolen by enemy soldiers, the northern Union Army, who want to burn railroad bridges and cause havoc for the southern Confederates, the heroes of this tale (yes, unfortunately).

And, lo and behold, those Union scallywags have also abducted his girl Annabelle. Johnnie must save the day, and the girl! This steam-powered 1860s-set tale comes packed with awesome stunts and set pieces, while also feeling more authentic and dramatic in tone than most comedies.

Eureka is releasing the film as part of its Masters of Cinema series, from a 4K digital restoration by the Cohen Media Group, presented in a new Dolby Vision HDR (HDR 10 compatible) grade. It comes with a score by Carl Davis and an absolute treasure trove of special features – Eureka has packed in more than two hours’ worth of new content to complement this brilliant movie.

It’s a huge step up from prior 1080 HD releases and well worth the upgrade. The success of this restoration is that it draws the eye to the striking black and white photography on display. I was taken aback by the beauty of the footage on this viewing - a quality of the filmmaking I hadn’t acknowledged beforehand.

The far more pronounced and distinctive colour gamut of the 35mm picture, the deeper blacks, the finer contrast of the dark and light shading, provide a rich depth to the image, accentuating the romantic elements of the drama. It also draws the eye towards the backdrop and flawless production design, all the finer details of the war going on while Keaton is in the forefront performing his comedic japes.

There's also a key section where the film plays with darkness and light as Keaton and his damsel in distress Annabelle are roaming through the dark and stormy forest. The richer black depths of the colour palette give this scene a real flair.

This clear and crisp restoration brings a quality of picture befitting of this awesome production with its astonishing visual storytelling. If any classic film deserved a 4K restoration, it’s indeed this one. Plus, Davis’ 1860s inspired orchestral score absolutely sings through the speakers.

It’s not only wonderful film to watch back - and bask in Keaton’s athleticism and comedic prowess - it’s also a great silent comedy to introduce people to the genre, due the grandeur and simplicity of its design. The 4K picture elevates the experience, giving Keaton’s journey an immersive quality. The perfect pairing of great storytelling and visual mastery.

Film: ⭐ ⭐ ⭐ ⭐ ⭐

Special Features:

David Kalat audio commentary: Kalat is a film commentator I always look forward to listening to. Here, he doesn’t disappoint, and once again seems to be in his element behind the microphone. Kalat’s commentary has a wry, tongue-in-cheek tone and he explores the film from a variety of refreshing angles. He speaks about the key figures who worked with Keaton that greatly influenced the picture, like his co-director, producer and lead actress. The film's mark on pop culture. The “WHYs” behind the movie.

Kalat is a master storyteller who has remarkable talent of weaving in and out of topics, while timing his commentary perfectly as the action unfolds on the screen. Comparing Keaton to another comedic actor, he states: "Buster Keaton's comedy was dry as a martini, [Red] Skelton is wet like a slobbery dog kiss."

Imogen Sara Smith's The General video essay (25mins): A fantastic video essay. Smith delves into the film’s shot composition, unpacking the “functional beaty” of Keaton’s movies. She also explores the nature of Keaton’s creativity and what influenced him. There are some great clips of a young Keaton's in his early film appearances with his mentor Fatty Arbuckle.

Luke Ryan on locomotives in the films of Buster Keaton video essay (52 mins): This extensive video essay feels like it expands on the previous one. It provides an in-depth  look at Keaton’s film history, focusing on his relationship with locomotives. It features some stunning clips of Keaton in colour, taken from Buster Keaton Rides Again made in the 60s, and behind the scenes clips of him grumbling about the shoot.

Ryan speaks about real story behind the movie, Andrews Raid in 1862 which was published as story in The Great Locomotive Chase. He then goes into why Keaton made certain changes to the narrative, like shifting the focus to the Confederacy. He also speaks about how key stunts and set pieces were conceived and achieved. Plus, a fantastic look at his post silent career. This is a must watch for a budding Keaton fan.

Limited edition booklet: Densley packed 40-page booklet with some great images. Kemp’s essay provides a decent overview of Keaton’s career with some illuminating details. Shaun the Sheep animator Haynes provides a highly entertaining essay, comparing traits of the animated work with the physical comedy of the silent era, focusing on the work of Keaton. The booklet also features a couple contemporary reviews of the film, from Kinematograph Weekly and the New York Time. It’s amusing to read how dismissive these are of the picture, which a hundred years later is viewed as a masterpiece.

Peter Kramer interview (42 mins): Excellent interview filmed by the BFI in 2016. Kramer contextualises why The General was a failure on release. He speaks about Keaton's level of success and why the audience would have found the picture problematic.

Eureka has also bundled a range of fantastic archival extra features.

Orson Welles' 12 minute intro is reliably charming and features clips from Keaton short films. Gloria Swanson's two minute intro is stylish and of its time. The four minute filming locations featurette has some amazing behind the scenes stories about the location. There's also an in depth 18 minute video tour archival featurette, which goes into the real life story behind The General. There's also one minute of home movie footage featuring Keaton in behind the scene shots.

Disc/package: ⭐ ⭐ ⭐ ⭐ ⭐

Eureka is releasing The General in 4K as part of its Masters of Cinema series on 18th May, 2026.