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The popular Ghost Blows out the Light series from novelist Zhang Muye saw two big screen blockbuster adaptations in 2015, the first of which was Mojin – The Lost Legend from director Wu’ershan. Hot on its heels comes Chronicles of the Ghostly Tribe, directed by Lu Chuan, better known for more highbrow and critically acclaimed fare such as like City of Life and Death and Kekexili: Mountain Patrol. Like Mojin, the 3D production is a special effects-heavy popcorn flick, headed up by an all-star cast including Mark Chao (Young Detective Dee: Rise of the Sea Dragon), Yao Chen (Monster Hunt), Rhydian Vaughan (Winds of September), Li Chen (Saving General Yang), Tiffany Tang (The Storm Warriors) and Li Guangjie (Drug War).

The film kicks off in 1979, with Mark Chao as Hu Bayi, a young man working on an archaeological dig in the remote Kunlun Mountains aimed at uncovering the origins of a mysterious fossilised species. After a hidden cave is discovered, he volunteers to join a team led by Professor Yang (Wang Qingxiang) and his daughter Ping (Yao Chen) to explore, which ends in disaster when monsters attack and a tower with occult powers is somehow activated. The only survivor, Bayi barely escapes with his life, though several years later is informed that the professor has been found wandering in the mountains, and Ping found in a newly opened underground tomb. Rushing to reunite with Ping, he finds her now calling herself Shirley and part of a shady mission to head back into the caves, seeming to have no memory of him or what happened to her.

Chronicles of the Ghostly Tribe certainly starts off very similar to Mojin – The Lost Legend, and the opening twenty minutes of the two films are really quite hard to tell apart. Thankfully, Lu Chuan soon heads off in at least a vaguely different direction, and the film develops into more of a fantasy-themed mystery, with some interesting ideas concerning the ghostly tribe and their origins, and some decent tension involving the identity and motivations of femme fatale figure Shirley. With less comedy relief and slapstick than Mojin, the film nevertheless doesn’t take itself too seriously, and Lu does a good job of balancing intrigue and a sense of old-fashioned adventure, helping to keep things engaging throughout. Sadly, the film is let down somewhat by some pretty thin character writing, with only Shirley really registering, Hu Bayi and the others being sketchy and bland at best. Although the cast all turn in perfectly acceptable performances and do their best to make their characters likeable, there’s no punch or emotional depth, something which does undermine the final act.

Given his past films, Lu may seem like an odd choice of director for what’s essentially a piece of multiplex fare, though he’s generally successful in adapting his approach to a more audience-friendly form, while retaining a semblance of his more weighty and sombre style. Indeed, one of the better things about Ghostly Tribe, and which sets it apart from Mojin and others of its type is its cultural grounding, Lu subtly evoking the period and political setting to pleasing effect. This isn’t always a perfect fit with the film’s fantasy elements, at times suggesting a missing level of social commentary or metaphor, though in the earlier stages in particular it works well, and there are moments which recall Lu’s earlier works here and there.

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