(https://i.imgur.com/WFRJzR7.png)
Studio: Eureka Entertainment
Release Date: 10/14/2025
Rating: NR, but I’d give it an R
Film Grade: B
The Story: It’s the end of the school year and Mr. Cheung has arranged for six of his students to join him on a two-day retreat on a remote island. He has fond memories of it from his younger days, with lots of wildlife and interesting geography for them to explore.
Despite the warnings of the boat’s captain about the police, residents, and illegal immigrants all having deserted the island, Mr. Cheung presses on. The group of seven soon finds that the island hasn’t been abandoned after all and that the family that lives there is always on the outlook for visitors.
My Take: Hong Kong cinema brings to mind action packed kung fu and martial arts genre action, which I’ve never gotten into. But there are many other types of films to come out of that region, and that’s where The Island lands. You might think that this is a typical 80s style slasher movie with horny teenagers condemning themselves through their promiscuous behavior, but that’s not it either.
This isn’t a straight horror film but more of a survival thriller with a good dose of humor that’s driven by the characters. And what a fun group of characters we have. John Sham plays the straitlaced Mr. Cheung with a combination of meekness and authority depending on who he’s addressing. The young actors playing the students were mostly unknown, filling their roles with the combination of curiosity and energy present in most teenagers. The boys act like boys of that age, tough on the outside, minds on the sophomoric, and oblivious to the dangers of the world. The girls are shy and giggly, just thinking about having youthful fun. Of the six, it’s Hoi-Lun Au’s Phyllis that stands out the most, with a surprisingly effective mixture of innocence and spunk.
In contrast, the three brothers inhabiting the island are all mentally challenged, but in very different ways. Lung Chan plays the eldest brother, Tai-Fat, a tough thug steeped in the old ways. Billy Sau Yat Ching is the youngest son, Sam-Fat, displaying an earnest simplicity as his developmentally disabled character who has been twisted by his older brothers. And the terrific Jing Chen gives an energetic and overtly creepy vibe to the perverted middle brother, Yee-Fat, as he ogles and fantasizes about the girls with a perpetual grin.
It's the interaction between these two groups that sets the movie apart from most horror entries. The teacher and students are just looking for a fun two days away from civilization while the brothers are desperately seeking something completely different. We know that there’s going to be a clash between them, but the encounters slowly build as the movie goes on, with Mr. Cheung trying to diffuse the situations by falling back on his polite and diplomatic nature. It’s those early interactions where the humor starts appearing, first between the brothers, then between the students and teacher, and finally between the two groups.
Modern viewers might have some reservations about the movie making fun of the mentally challenged, but it doesn’t come off that way at all. This is especially true with the youngest and most vulnerable brother, who the audience are likely to pity as the film progresses. If anything, he’s also one of the victims of his older brothers, with the film showing the causal effects of nurture over nature.
Like any cat and mouse movie, situations change as both sides try to outmaneuver each other. The brothers are familiar with the island and have set the rules while the teacher and students have their wits and some technology that may help them. But it’s the characters’ spirit and determination that will determine who wins and who loses.
Visuals: Like many of the movies from this time period, grain is prominent through much of the film, and the disc preserves that look. Colors are often bold and striking, from the lush island flora to the dramatic use of rich primary hues (especially red) emphasized by lighting in specific scenes and events. The cinematography features some gorgeous shots, such as one in a loft where some openings in a roof create thick pillars of white light that pierce the dim room. Camera work is equally fine, with a helicopter focusing in on different scenes and handheld shots that keep things moving.
There were a couple of lines where the subtitle font suddenly changed, becoming bolder and fatter for no apparent reason. Not a big problem but slightly distracting as one was left to wonder about the implied significance.
Audio: The mono soundtrack features a prominent and lively score that is in line with the kind of music one would expect from a horror film out of the West. A heavy synth feel with pop-style influences sets the tone for what’s to come, and adds tension as needed. An occasional folk melody is used to add some character for scenes that call for it, adding character to the film.
The commentary tracks discuss which actors’ voices were dubbed by others and which were provided by the actors themselves. This was less noticeable when reading the subtitles, but if you watch the lips, you’ll catch spots where voices do not match at all. Advantage subtitles on this one.
Special Features: The disc is loaded with additional material. Two commentary tracks add information about the film itself, the cast and director, and some of the cultural references for the movie’s setting. The booklet sheds more light on director Po-Chih Leong’s background and influences. As a son of Chinese immigrants who was born and raised in the United Kingdom and went on to work for the BBC before returning to Hong Kong, he has a fascinating history. The featurettes add additional detail as to the studio work and filming details.
These are all worth exploring after watching the movie to get a greater understanding and appreciation out of what they were able to do with this small film. It’s another solid value-add to a special edition release. Hat’s off to Eureka for putting such effort into this film.
It’s also nice to see the booklet include the kind of information that we’re all familiar with, but a general audience may not be. It explains the aspect ratio, recommends filmmaker or cinema setting on the display device, and to make sure that any motion smoothing is off. I’d like to see more of this kind of guidance from the studios on their releases.
- Limited edition of 2,000 copies
- Limited edition O-card slipcase featuring new artwork by Ilan Sheady
- Limited edition collector’s booklet featuring an interview with Po-Chih Leong and revised introduction notes on The Island by film writer, producer and film festival executive Roger Garcia
- Optional English subtitles, newly translated for this release
- New audio commentary with East Asian cinema expert Frank Djeng (NY Asian Film Festival)
- New audio commentary with genre cinema experts Mike Leeder and Arne Venema
- Tony Raynes on The Island
- Surviving the Shoot – interview with director Po-Chih Leong from 2023, courtesy of Frédéric Ambroisine
- Trailer
Final Verdict: I was a little hesitant to review this one, just due to my unfamiliarity with movies coming out of Hong Kong and my assumptions about them. Watching the trailer piqued my curiosity and boy am I glad it did. This has been compared to various horror movies from the 70s, including The Texas Chainsaw Massacre, but it really is its own thing even if it does share some superficial traits.
For those worried about any cultural references, such as the illegal immigrant comment made by the boat captain, there’s no need to worry. While those elements are there, they’re only used as subtext, not to preach. If you do want to dive into them any further, the optional commentary tracks will provide the additional context that you might need.
The film isn’t without violence, but it’s typically used to convey the action, not the gratuitous kind that was prevalent in the West at that time. With that said, there are a couple of instances of animal cruelty that you wouldn’t see in today’s movies.
This is very much a product of its time, steeped in the looks of the 80s but featuring themes that are universal with outsiders clashing with natives and the inevitable misunderstandings that are destined to create problems. That adds a sense of freshness to it that was unexpected. Sensibilities are in line for back then, even if some may feel outdated today.
This was an enjoyable watch for both my wife and I and I’m grateful for the chance to review it. Recommended for fans of the genre and those curious about the blending of Hong Kong cinema and survival-based terror with a splash of well-placed humor with a special focus on characters. If you’re uncertain about this one, give the trailer a watch. While it shows some of the events, it’s not overly spoilerish and shows off some of that great color work.
Social Commentary Quote: “So you think that we aren’t good enough for you educated people?”
https://youtu.be/esx0qomw6gw
My Review System:
JVC DLA-RS3100 4K Ultra High-Definition Front Projector
Elite Screens Sable Frame B2 117” Width with Infinitely Variable Height
Monolith by Monoprice HTP-1 16 Channel Processor with Dirac Live
Monolith by Monoprice 7x200 Watts Amp
Monolith by Monoprice 3x200 Watts + 6x100 Watts Amp
JBL Studio 590 for Left, Center, Right, Wides, and Rears
JBL Studio 580 for Side Surrounds
JBL Studio SCS 8 for Tops
JTR Captivator 1400 Subwoofer X 4
Panasonic DP-UB420 4K Ultra HD Blu-ray Player
Oppo BDP-93
NVIDIA Shield Android TV - 4K
Xbox One X
HTPC Running madVR (work in progress)
Remote: URC MX-780
Mini DSP 2X4 HD controlling all subwoofers
APC S15 Power Conditioner with Battery Backup