Ninja Hunt1983 – Hong Kong
Director – Joseph Lai
AEE, 1992, VHS
No doubt this is going to be a shit fest, Joseph Lai is as far as I’m concerned essentially a pseudonym/alter ego for the notorious Godfrey Ho, thief-master frankenfilmmaker extraordinaire. In any case the name Joseph Lai certainly carries it’s own stigma of shit.
Some ninja, knowing the lasting virulence of the magnetic tape format, steal a secret formula recorded on video tape, which it is rumored can give soldiers a morale boost/bloodlust. They bring it to their goofily yellow clad boss, White Man #1.
Aaron quickly befriends a pint-sized hustlin’ street kid who’s down with all the top Asian gangsta’s in Hong Kong, including Campbell, who’s sleeping with Billys mother. Aaron is repeatedly mugged by Campbells goons, and then there is a dance-club scene with stolen Michael Jackson music.Suddenly WM1 and his white-man ninjas appear again in silly costumes, muttering administrative business and plotting against WM2. WM2 appears at Billys moms home and confesses to fathering the runt, followed by an inter WM ninja fight.
There is a rock/paper/scissors match at a dance club which devolves into a slapfight and crap, crap, unintelligible crap.
As WM2 and his imperialist ninja administration team plan the colonial crackdown on the other Asian four fifths of this film, Billy suffers the culmination of emotional trauma at the hands of his mother who has insisted his whole life that he refer to her as “Auntie” and wear hideous plaid sportscoats.
Finally, heaving themselves bodily from behind their fiercely monolithic mass produced oaken administrative desks, the WM scuffle heartily over the videotape and eventually the winner gets a soft-on. 



Behaving like an 80’s slasher movie version of the Scooby Doo gang, we know we’ll get some fluffy “horror, but we’ll also not only get boobs, but (since it’s Italian) also sausage. Here now, the film begins to cycle through it’s basic shot rotation; shot of “scary” rats, people reaction shot, gory aftermath, broken up occasionally with some banal vapid dialogue.
During the first night of Mattei’s requisite synth-goth soundtrack, we get less than frightening death of lovers while at the same time, another member of the group is attacked and gnawed by a few rats and, in a stroke of merciful genuis, his friends set him on fire to ease his suffering, everyone feels bad and is finally, if a little suddenly, terrified of the rats, despite their otherwise unmotivated rodent performance.
Soon the rats have driven a psychological wedge between the group who’s internal rivalry leads them to a near re-enactment of Night of the Living Dead’s climactic survival tactics argument. Nevertheless despite flamboyant, exuberant fearmongering hyperbole, the rats remain unconvinced of their own powers, requiring a scattering of food on the floor to keep them in place for each shot.









