Film Review: Troublesome Night 陰陽路 (1997) - Hong Kong
Reviewed by Andrew Chan (Film Critic Circle of Australia)
I rated it 7.5/10
Rating: ★ ★ ★ 1/2
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In the bustling, neon-soaked streets of late-90s Hong Kong, where the living and the dead seem to share the same crowded sidewalks, comes Troublesome Night — a scrappy, spirited anthology that blends ghost stories with broad comedy in a way that feels utterly, unapologetically Cantonese.
This is not prestige horror. You won’t find the icy dread of a Japanese ghost tale or the polished production values of a Hollywood fright-fest. Instead, director trio Steve Cheng, Victor Tam, and Herman Yau deliver four loosely connected vignettes about ordinary Hong Kong people stumbling into the supernatural on those infamous “yin-yang roads” where the veil between worlds grows thin. The film knows exactly what it is: a midnight movie for folks who want laughs, chills, and a few genuine “did they really go there?” moments, all wrapped in the familiar chaos of local life.
What works remarkably well is the film’s refusal to take itself too seriously while still committing to its spooky atmosphere. Helena Law Lan, that magnificent veteran of Hong Kong horror-comedy, brings a grounded, no-nonsense presence as the resident spiritual expert, and Simon Lui delivers his usual deadpan hilarity. The ghosts themselves range from tragic to ridiculous, sometimes within the same segment. One moment you’re chuckling at slapstick funeral hijinks; the next, a pale face appears in the mirror and the temperature in the room seems to drop.
Then there’s Louis Koo as Ken in the opening segment — a young everyman on a camping trip who encounters a mysterious woman near a grave. Even in this early role, Koo shows the easy charm and screen presence that would later make him one of Hong Kong’s biggest leading men. He handles the shift from lighthearted buddy antics to genuine supernatural unease with a natural likability that anchors the story. It’s a reminder of how many future stars cut their teeth in these wild, low-budget genre outings. The technical side is pure Category III-era Hong Kong — practical effects, moody lighting in cramped apartments and foggy streets, and a score that ping-pongs between eerie synths and upbeat Cantopop. It’s not subtle, but it has energy. The stories move briskly, never overstaying their welcome, and the anthology format allows the filmmakers to try different tones without apology.
Is it consistent? Not entirely. A couple of segments are stronger than others, and the humor can feel dated to those who don’t speak the cultural language. Yet that very local flavor is also its greatest strength. Troublesome Night captures a specific time and place — Hong Kong on the cusp of the handover, still telling stories about restless spirits while the city itself was restless.
This franchise would spawn nearly 20 entries, proving the public’s appetite for these yin-yang tales. The original stands as the cheekiest and most energetic of them all.
It’s not a masterpiece, but it’s lively, likable, and strangely comforting in its own macabre way — like swapping ghost stories with friends at 3 a.m. over cups of milk tea. If you have even a passing affection for Hong Kong cinema’s wilder side, it’s worth a late-night viewing. Just don’t be surprised if you leave the lights on afterward. (Neo, 2026)