Though the film climaxes with a face-off between Hark and Fatt, it drags on for a bit with a couple of long montages that resolve Fatt’s love story. These and other narrative digressions make the film feel inconsistent, though it’s clear that Nick Cheung enjoys his whimsical and emotional moments.
The odd tone also fits the production and character design: the ghosts are ugly CGI-enhanced versions of Chinese demons you might have seen in eighties ghost films, and their comic demeanour is also reminiscent of that era. Cinematography is of the gross-pretty variety; the film uses a muted palette that shifts depending on the situation. The result is appropriately stylish and baroque, which helps hide some of the cheaper sets and effects.
With
Keeper of Darkness, Nick Cheung seems to be re-imagining old Hong Kong ghost films, with their weird comedy and shifting tones, for the modern era. Unlike in
Hungry Ghost Ritual, which was competent but lacking personality, there is a real sense that Nick Cheung is present in
Keeper of Darkness – and not just as the lead actor. Cheung’s personality, which can be seen in the actor’s genial personal appearances, seems evident in the film’s sly humour, and Cheung casts himself in a role perfectly fitting his low-key but intelligent persona.
Exorcist Wong Wing-fatt is a fun character embodied by one of Hong Kong’s standout popular artists, and he’s in a film full of entertaining Hong Kong-style emotions. The resulting odd mix may not be everyone’s cup of tea, but it’s unexpected and unique, and a strong improvement for Nick Cheung as a director.