For Cult Cinema Lovers, a Treasure Trove of Weirdness

Read Time:6 Minute, 14 Second

MOVIE REVIEW
Shawscope Vol 4 [Limited Edition]
–

Genre: Horror, Fantasy, Supernatural, Martial Arts
Year Released: mid-1970s through early 1980s, Arrow Video Blu-ray 2025
Runtime: 24h 19m (16 films)
Director(s): Hua Shan / Ho Meng-hua / Pao Hsueh-Li / Kuei Chih-Hung / Chor Yuen / Lau Kar-Wing / Tang Tak-Cheung / Richard Yeung Keun / Alex Cheung Kwok-Ming
Writer(s): Various (Shaw Brothers in-house: Ni Kuang, On Szeto, Szeto On, Yip Yat-Fong, A Kuang, I Kuang, Cheung San-Yee, Yip Ming, and others across the 16 films)
Cast: Danny Lee, Ti Lung, Chen Ping, Lo Meng, Ku Feng, Tanny Tien Ni, Lily Li, Jason Pai Piao, Cherie Chung, Wang Hsieh, Stuart Ong, Philip Ko, and many others across all titles
Where to Watch: available December 9, 2025, pre-order your copy here: www.arrowvideo.com, www.mvdshop.com, or www.amazon.com

RAVING REVIEW: SHAWSCOPE VOL. 4 has hit the point in the series where the veneer of classic martial-arts prestige drops away, and Shaw Brothers’ strangest takes in their catalog take center stage. This extraordinary sixteen-film set captures a period when the studio was throwing everything at the wall—superheroes, curses, demons, jiangshi, possession, sci-fi, wuxia fantasy, and supernatural horror. What emerges isn’t a thematic set of curated classics, so much as a snapshot of an industry evolving (and unraveling) in real time. The result is messy, unhinged, and irresistible.

Disc One opens with SUPER INFRAMAN (dir. Hua Shan), still one of the most delightful genre curveballs ever produced. Danny Lee plays the bionic superhero battling Princess Dragon Mom and her mutant army, and the restoration here lets its practical creature effects shine the way they always should have. It’s a kinetic blend of tokusatsu energy and Shaw Brothers stunt precision—loud, colorful, shamelessly earnest. The set could’ve stopped here and still been worth owning.

Disc Two pairs OILY MANIAC (dir. Ho Meng-hua) and BATTLE WIZARD (dir. Pao Hsueh-Li), two films that demonstrate the polar opposite ends of Shaw insanity. OILY MANIAC, a grotesque revenge horror piece, centers on a cursed shapeshifter who turns into a sludge monster. The tone is equal parts tragedy, exploitation, and creature-feature absurdity, but it’s never boring. BATTLE WIZARD is pure wuxia fantasy, filled with magical battles, mythical beasts, and elaborate practical effects. Together, they highlight the studio’s obsession with blending martial-arts choreography with paranormal spectacle.

Disc Three dives into the BLACK MAGIC duology (dir. Ho Meng-hua), essential titles for anyone fascinated by Hong Kong occult cinema. BLACK MAGIC and BLACK MAGIC PART 2 are grim, chaos, curse-driven nightmares filled with voodoo rituals, corpse manipulation, and sorcery. Ti Lung and Chen Ping anchor the films with performances that take the outlandish premises seriously enough to elevate them. Their intensity keeps both entries grounded, even when the movie veers into deranged extremity.

The HEX cycle begins across Discs Four and Five, and these films define the supernatural Shaw era. HEX (dir. Kuei Chih-Hung) blends betrayal drama with ghostly vengeance, and BEWITCHED (dir. Kuei Chih-Hung) goes for a nastier, more atmospheric approach with curses that rot flesh and distort minds. HEX VS. WITCHCRAFT and HEX AFTER HEX continue the franchise’s blend of witchcraft, haunting, and spiritual punishment. These four films share DNA with the Thai and Taiwanese occult waves of the same era, but Shaw gives them a specific visual sensibility that sets them apart.

Disc Six brings BAT WITHOUT WINGS (dir. Chor Yuen) and BLOODY PARROT (dir. Hua Shan), two wuxia-horror hybrids. BAT WITHOUT WINGS is a stylish mystery about a disfigured, murderous martial artist, filled with detailed sets and dreamlike cinematography. BLOODY PARROT is a fever-dream quest about a demonic entity promising wishes—and the violent consequences that follow. Both films showcase Shaw’s capacity for atmosphere, using color, fog, and ornate production design to build supernatural worlds rather than relying solely on creature effects.

Disc Seven contains THE FAKE GHOST CATCHERS (dir. Lau Kar-Wing) and DEMON OF THE LUTE (dir. Tang Tak-Cheung). These are the most comedic entries in the set, each playing with jiangshi tropes, otherworldly trickery, and playful supernatural antics. THE FAKE GHOST CATCHERS follows two con artists forced into real ghost-hunting, while DEMON OF THE LUTE embraces zany fantasy martial arts with heightened combat and magical artifacts. They’re broader, lighter films, but they round out the range of Shaw’s supernatural era.

Disc Eight features SEEDING OF A GHOST (dir. Kuei Chih-Hung) and PORTRAIT IN CRYSTAL (dir. Hua Shan). SEEDING OF A GHOST is one of Shaw’s most infamous Category III-adjacent horrors, a nasty revenge tale involving necromancy, insect monsters, and grotesque practical effects. PORTRAIT IN CRYSTAL shifts to a more mythic tone, telling a story of a murdered swordswoman reincarnated through a crystal sculpture. Its floating combat sequences and surreal imagery make it one of the most visually distinct films in the box.

Disc Nine brings TWINKLE TWINKLE LITTLE STAR (dir. Alex Cheung Kwok-Ming), a sci-fi comedy about alien abduction starring Cherie Chung. It’s the most modern-feeling entry in the set—a pop-infused oddity with slapstick sensibilities and imaginative low-budget effects. The restoration gives the film’s colorful palette new life, turning what could’ve been a footnote into a standout piece of Shaw’s late-era experimentation.

Disc Ten collects documentaries, video essays, archival profile pieces, and newly produced extras, providing context for the studio’s supernatural pivot and the creative risks taken during this period. It’s the intellectual spine of the set, grounding the chaos in history.

As a complete package, SHAWSCOPE VOL. 4 is overwhelming in the best way. It’s a tour through every corner of Shaw Brothers’ imagination—heroes, demons, monsters, curses, aliens, ghosts, martial artists, and creatures of pure nightmare. The quality varies, but the ambition never does. This is the volume where Shaw Brothers stopped playing it safe and embraced pure genre audacity. For collectors, horror fans, and anyone fascinated by international genre cinema, this is the crown jewel of the series so far—bold, bizarre, beautifully restored, and essential.

Please visit https://linktr.ee/overlyhonestr for more reviews.

You can follow me on Letterboxd, Instagram, Twitter, and YouTube. My social media accounts can also be found on most platforms by searching for 'Overly Honest Reviews'.

I’m always happy to hear from my readers; please don't hesitate to say hello or send me any questions about movies.

[photo courtesy of ARROW VIDEO, MVD ENTERTAINMENT]

DISCLAIMER:
At Overly Honest Movie Reviews, we value honesty and transparency. Occasionally, we receive complimentary items for review, including DVDs, Blu-rays, CDs, Vinyl Records, Books, and more. We assure you that these arrangements do not influence our reviews, as we are committed to providing unbiased and sincere evaluations. We aim to help you make informed entertainment choices regardless of our relationship with distributors or producers.

Amazon Affiliate Links:
Additionally, this site contains Amazon affiliate links. If you purchase through these links, we may receive a commission. This affiliate arrangement does not affect our commitment to honest reviews and helps support our site. We appreciate your trust and support as you navigate these links.