★★★☆☆
Unidentified Murders, which makes its North American premiere at the Fantasia International Film Festival is a blend of various different genres, from crime and comedy to mystery, with a hint of satire, offering a unique story structure that works—even when it doesn’t.
The film’s structure is story-driven, with little to no real character substance. The characters remain largely unchanged throughout the film, only doubling down on their most prominent characteristics.
“A unique story structure that works—even when it doesn’t.”
Unidentified Murders has multiple storylines unfolding simultaneously, all intertwining to the point of crossing paths. We follow multiple characters who are connected through one central narrative while each maintains their own story within the context of the larger plot.
The script is penned by Devon Ka-Hang Choi, Siu-Hong Ho, Ka Hei Kwok, Jack Chun-Kit Lee, and Ka-Ching Yung. Looking at the number of credited writers offers some insight into what may have led to the script’s problems.
At no point does Unidentified Murders feel like an Asylum-style film that set out to be a goofy mockbuster. Instead, it embraces camp, leaning into exaggeration, melodrama, and absurdity in a self-aware way. That gives the film some leeway in its execution, considering its intentions.
Viewed through the lens of campy cinema, the script takes on a different essence—one driven by intent and purpose.
Even with that in mind, however, there are problems that campiness alone can’t fix.
There are obvious plot holes created by contradicting scenes and plot points, resulting in a narrative that frequently contradicts itself.
The cinematography, like much of the film, feels spotty. It offers glimpses of brilliance and beautiful execution, only to shift into visuals that feel disconnected from the rest of the film.
The opening scenes are beautifully shot and framed. While they contain some CGI, the overall composition is crisp and tight.
The film also utilizes different visual approaches, including newsreels, phone cameras, and documentary-style footage right off the bat.
It then slowly drifts away from using style and visual execution to enhance the film, moving toward looser, more unintentional-looking imagery before fully embracing its campiness.
“Campiness alone can’t fix obvious plot holes.”
Chin-Hung Tsui’s score follows a similar path. It begins grounded and is used sparingly, but by the end of the first act it becomes intentionally campy, over-the-top, and abrupt.
Ka Hei Kwok and Jack Chun-Kit Lee co-direct the film, with both also serving as writers.
Having two directors at the helm feels as if it hurts the film more than it helps in this particular case.
Like the script, there are multiple moments where conflicting voices and creative visions become apparent.
Parts of the first and third acts feel as though they were directed by two completely different people with opposite intentions.
There are scenes and sequences that clearly feel out of place and interrupt the film’s flow.
The film shifts from being serious—while never entirely grounded—with a dark sci-fi undertone, to embracing broad, goofy camp, creating tonal whiplash.
As a directing team, they leave in an entire sequence that throws off the film’s narrative. While it was written into the script, it could have easily been left on the cutting room floor to create a more cohesive and flowing story.
Despite embracing camp, removing that one sequence would have fixed a plot hole that derails the third act. It would have prevented the film from becoming a trophy for narrative inconsistency while preserving what could have been a genuinely great plot twist. The film could have remained campy while also feeling coherent.
The performances aren’t bad—they fit the material. However, the script leaves little room for anyone to truly elevate their roles, with the exception of Charm Man Peter Chan.
Charm Man Peter Chan’s performance is astonishing. His character is an actor within the film, someone who approaches even the most basic, clearly “just to pay the bills” jobs with complete intensity.
His character takes method acting to another level, turning the performance into a satire of what I imagine working with Jared Leto would have been like, based on how the Suicide Squad cast described his behavior during the 2016 press tour.
“Charm Man Peter Chan’s performance is what ultimately makes the film work.”
Charm Man Peter Chan’s performance not only stands out—it’s what ultimately makes the film work. His pure dedication to the role is what pulls the film across the finish line.
Unidentified Murders doesn’t always flow. There are clear pacing issues that make sections feel compartmentalized, with tonal shifts occurring in abrupt blocks instead of through smooth transitions.
There’s also a plot hole that undermines what would have been a fantastic plot twist had it been executed more smoothly.
Yet despite its flaws, the film works as a campy comedy. It’s engaging and delivers humorous moments that succeed in a The Room-style way.
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