Film Exposure

Ah, ancient China – its prosperity, spirituality, heroism, and… its Jiangshi. But this is not a story about ancient China, this is about Dublin, Guiness pints, and spice bags. And most importantly, about Danny and Frank, two loser rat exterminators working a dead-end job with no prospects in today’s fair city; that is, until they’re thrown into supernatural mayhem when an ancient Chinese evil is awoken…

The Jiangshi is a staple of Chinese folklore, a type of vampire-like creature known for hopping rather than running, and which was featured in several popular (now cult) Hong Kong flicks from the 80s and 90s. The trope sort of gradually disappeared over the years, so to see it emerge once more today in a movie from Ireland no less, is surprising to say the least. The surprise soon gives way to another, more interesting feeling – that we might be witnessing one of the most self-aware, genuine examples of world-culture cinema; a movie that wouldn’t exist the way it does if it weren’t for at least three distinct films industries, if not more.

Kung Fu Deadly is clearly the work of someone who’s grown up as a cinephile on popular genre cinema from America and Hong Kong, harnessing visual and narrative codes from both industries: neon-soaked night-time back alleys, practical make-up effects, buddy movie-inspired gags and character dynamics,  antagonists defined by single, humorous character traits, a sense of rhythm in the editing that allows for both action dynamism and comedic levity, and the noble B-movie philosophy of always keeping things moving at a brisk pace.

As is implied in the title, Kung Fu Deadly is an action comedy, and the action is as good as it possibly could be given the resources available: simple but efficient choreographies, clean moves from the performers, clear-eyed framing, and legible editing. None of the fights are particularly long, but the team clearly makes the most of what they have. The supernatural abilities thrown into the mix spice things up even more and will bring a smile to the face of anyone who has ever seen a Mr. Vampire movie. The humour exists in a space between cultures, mixing dry, deadpan Irish banter, typical American visual slapstick or self-deprecating comedy, and one or two situational eccentricities that Wong Jing or Ricky Lau would have wholeheartedly embraced.

It’s also a film that knows not to overstay its welcome, clocking in under 90 minutes before the end credits start rolling. Sure, director Fergal Costello works with very limited financial resources here, and it shows in the way we barely actually see the streets of Dublin, and how the film keeps coming back to the same indoor locations. But as was the case with some of the director’s previous films (We Are Not Alone, Something Doesn’t Feel Right), everything at his disposal is used smartly and efficiently.

The film stars Steven He O’Byrne, an online influencer turned actor I had never heard of before, and who does a decent enough job in the main role here. The film has a Big Trouble in Little China feel in its visual identity and use of Asian folklore, but sets itself completely different narrative and substantial goals (the hero here really is the hero, for instance).

Kung Fu Deadly is not a gamechanger by any means: its scale is small; its actors are competent but not particularly memorable; its lighting varies in quality and texture a little too often. But it achieves basically everything it sets out to do, and it does prove one thing: budget limitations are never an obstacle to nostalgic fun.

Kung Fu Deadly – Seen as part of Fantastic Fest 2026; no European release date yet
Directed by Fergal Costello
With Steven He O’Byrne, Michael Tient, Gemma Chua-Tran