Normally I like to use the original title in my reviews (or at least the transliteration of the original title), but in the case of Fruit Chan's (Hollywood Hong Kong) latest feature Na Yeh Ling San, Ngo Joa Seung Liu Wong Gok Hoi Wong Dai Bou Dik Hung Van it would become just a little too ridiculous, so instead I'll just be sticking with The Midnight After.
I've seen my share of Fruit Chan films through the years and even though I certainly didn't like all of them, his films are always worth a gamble. Even when one of them fails to engage there's always something to like or admire. The Midnight After is a kind of culmination of everything he has done before, yet at the same time it feels like a completely new direction for Chan.
Based on an online novel, The Midnight After is part sci-fi, part mystery. Not a very popular or common combination for a Hong Kong film. The film starts like many of its American counterparts, with a random group of people meeting on a bus, only to be transported to some mysterious, alternate version of Hong Kong a little while later. In their universe, all people have disappeared, apart from a cloaked figure wearing a gas mask who follows them around. It's a typical setup for a horror flick (think Reeker), but that's when things start to get a bit weird.
Chan's characters aren't your usual horror fodder though. They are more aware, quickly citing possible scenarios that could've been used as the film's twist ending (like "we had an accident and we're in a limbo between life and death"). He doesn't stick to one particular genre either, adding post-apocalyptic elements, some lighter comedy bits and some genuine weirdness (the Major Tom scene). And if you think it'll all make sense in the end, you're in for a neat little surprise (or disappointment if you really need closure).
The Midnight After is a film that breaks with many genre traditions, instead focusing on its group of characters and building a boundless film around them. Actors like Simon Yam, Kara Hui and Lam Suet put in a decent effort, while You-Nam Wong fares well as the film's lead. The film isn't 100% serious (even though some scenes are quite nasty to watch) so you'll have to deal with the typical Hong Kong overacting from time to time, but that's only to be expected.
Fruit Chan's latest is a peculiar film. It doesn't stick to one single genre, it doesn't really compare to other films (even though it draws inspiration from many different genres), it doesn't even strife for a homogeneous atmosphere. Instead it's a flamboyant trip that reflects the many aspects of current-day Hong Kong and makes sure to trip up the viewer wherever possible. There are some moments of genius here, at other times the film fails to truly engage. But whatever you'll be thinking when you walk out of it, it's definitely worth a shot as it is one of the more unique films I've seen all year.