Flawed, Colorful, and Still Worth the Trip

Read Time:5 Minute, 35 Second

MOVIE REVIEW
Saga Of The Phoenix (A Xiu Luo)
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Genre: Action, Adventure, Fantasy, Martial Arts
Year Released: 1989, 88 Films Blu-ray 2025
Runtime: 1h 34m
Director(s): Ngai Choi Lam, Lau Shut-Yue
Writer(s): Sau-Ling Chan, Yiu-Ming Leung, Makoto Ogino
Cast: Gloria Yip, Yuen Biao, Hiroshi Abe, Loletta Lee, Shintarô Katsu
Where to Watch: available now, order your copy here: www.88-films.myshopify.com, www.mvdshop.com, or www.amazon.com

RAVING REVIEW: SAGA OF THE PHOENIX arrives with the unmistakable energy of late-1980s Hong Kong fantasy cinema; boundless imagination, fearless tonal shifts, and an almost reckless commitment to spectacle. As a follow-up to THE PEACOCK KING, it occupies an uneasy middle ground. It is more playful, more accessible, and far less interested in sustained menace. That shift does not sink the film, but it fundamentally changes what kind of experience this sequel aims to be.

At its core, the film centers on Ashura, the Hell Virgin portrayed with surprising warmth by Gloria Yip. Rather than positioning her purely as a supernatural threat, SAGA OF THE PHOENIX reframes her as a curious outsider granted a brief window into human life. This narrative choice softens the film’s edges and allows it to explore themes of innocence, restraint, and temptation through a gentler lens. It is a compelling idea, and when the film commits to it, the emotional undercurrent works better than expected.

The problem is that commitment is inconsistent. The film frequently interrupts its own momentum with extended comic detours, tonal pivots, and side characters who dominate far more screen time than their narrative importance warrants. What was once a darker fantasy adventure becomes something closer to a supernatural family film, complete with broad humor and creature antics that feel designed to charm rather than unsettle. For some viewers, that pivot will feel like a betrayal; for others, it becomes part of the film’s eccentric appeal.

Visually, SAGA OF THE PHOENIX remains impressive. Practical effects, puppetry, and elaborate costuming reflect a production culture willing to push physical craftsmanship to its limits. Even when the story slows, the film rarely looks uninspired. Strange creatures, surreal environments, and exaggerated performances keep the frame alive. Ngai Choi Lam’s fingerprints are especially visible in moments where imagination overrides restraint. These sequences remind you why his work continues to attract cult devotion.

Yuen Biao’s presence, however, is frustratingly uneven. When he is allowed to engage physically, his martial arts ability injects much-needed kinetic energy. Unfortunately, large stretches of the film sideline him, depriving the story of one of its strongest assets. This absence contributes to the film’s sagging middle section, where the balance tilts too far toward comedy and episodic wandering. The action never disappears entirely, but it becomes an afterthought rather than a driving force.

Hiroshi Abe’s performance leans into eccentricity, providing comic contrast to Ashura’s quiet curiosity. Loletta Lee brings charm to her role, though her subplot feels underdeveloped and largely ornamental. Shintarô Katsu’s appearance lends a sense of gravitas, even if his role remains relatively contained. The ensemble works best when the film allows their personalities to complement rather than compete with the central arc.

Tonally, SAGA OF THE PHOENIX often feels like a film arguing with itself. One moment gestures toward spiritual allegory and cosmic consequence; the next indulges in slapstick and mischievous creature humor. This internal tension likely stems from an attempt to broaden the audience, and while the intention is understandable, the execution is uneven. The darker, more operatic elements that distinguished THE PEACOCK KING are still present, but they surface in bursts rather than sustained movements.

That said, the film’s creativity is difficult to dismiss. Even its weaker stretches are fueled by ideas rather than complacency. The willingness to embrace absurdity, to let fantasy spill into comedy without apology, gives SAGA OF THE PHOENIX a personality that many cleaner, more disciplined films lack. It is messy, yes, but rarely dull.

The final act restores much of the film’s confidence. Visual effects intensify, thematic threads converge, and the story briefly recaptures the sense of mythic stakes that the earlier sections diluted. The climax may not fully compensate for the uneven pacing, but it reasserts the film’s identity as imaginative genre cinema rather than disposable sequel material.

In the end, SAGA OF THE PHOENIX succeeds not by matching its predecessor, but by carving out its own peculiar space. It is a step down in cohesion and intensity, yet a step sideways into playful experimentation. Its charm lies in its contradictions: ambitious yet unfocused, heartfelt yet indulgent, visually inventive even when narratively scattered.

For viewers attuned to Hong Kong fantasy cinema’s anything-goes philosophy, this remains an engaging and often delightful experience. It does not reach the heights it clearly wants to, but it never feels cynical or lazy. Instead, it plays like a creative team throwing every idea they had onto the screen and trusting the audience to find joy in the overflow. That trust mostly pays off.

Bonus Materials:
LIMITED EDITION RIGID SLIP CASE WITH NEW ARTWORK BY R.P. 'Kung Fu Bob' OBRIEN
LIMITED EDITION 40-PAGE PERFECT BOUND BOOK
LIMITED EDITION PREMIUM ARTCARD
BRAND NEW 2K RESTORATION FROM THE ORIGINAL NEGATIVE
REMASTERED ORIGINAL CANTONESE MONO AURAL SOUNDTRACK
NEWLY TRANSLATED ENGLISH SUBTITLES
AUDIO COMMENTARY BY FRANK DJENG (NY ASIAN FILM FESTIVAL) AND F.J. DESANTO
ALTERNATE JAPANESE FOOTAGE
IMAGE GALLERY
ORIGINAL TRAILER

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[photo courtesy of 88 FILMS, MVD ENTERTAINMENT]

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