Hong Kong genre cinema reached peak imaginative freedom in the early 1990s, and Lam Nai-Choi‘s The Cat epitomizes this period’s willingness to blend seemingly incompatible elements into pure entertainment gold. This deliriously inventive production features extraterrestrial felines engaging in martial arts combat while battling shapeshifting cosmic horrors—a premise that could only emerge from Hong Kong’s unique industrial ecosystem.

Adventure novelist Wisely (Waise Lee) investigates mysterious disappearances connected to three unusual residents: a young woman (Gloria Yip), her elderly companion, and their remarkably intelligent cat. These alien refugees pursue a malevolent entity known as “the star killer,” which possesses human hosts while consuming them from within. The subsequent supernatural detective story combines practical effects spectacle (long live practical effects no matter the quality!) with genuine emotional investment, creating something that operates on dream logic rather than conventional narrative coherence.

The Cat represents Hong Kong cinema’s sophisticated approach to international co-production during its golden era. Japanese financing from Tokuma Enterprises and Nippon TV enabled the creation of an alternate version titled Nine Lives, featuring different lead actors (though Yip remained) and cultural references specifically tailored for Japanese audiences. This wasn’t mere dubbing but genuine cultural adaptation, demonstrating the complex global strategies Hong Kong producers employed before political uncertainties began reshaping the industry.

88 Films’ Blu-ray presentation showcases the film’s elaborate practical effects work through a crisp 2K restoration from original camera negatives. The enhanced resolution reveals impressive detail in both intimate character interactions and spectacular monster sequences. The legendary cat versus dog confrontation—which reportedly required six months of careful animal wrangling—benefits enormously from the improved clarity, allowing viewers to appreciate the complex canine/feline choreography involved. The color palette remains vibrant throughout, with neon-saturated nighttime sequences displaying particular visual richness.

The extras demonstrate 88 Films’ commitment to scholarly context. Frank Djeng’s audio commentary provides expert insight into Hong Kong cinema conventions and the broader Wisely universe and Gordon Chan’s interview delivers valuable screenwriter perspective on adapting literary science fiction for visual media. The substantial booklet treats this cult material with appropriate academic rigor.  I only wish the complete Japanese alternate version had been included, as in previous releases, because it would have offered fascinating comparative viewing opportunities. 

The Cat exemplifies Hong Kong cinema’s unique ability to transform budgetary constraints into creative opportunities. This spiffy release preserves a remarkable artifact that reminds modern audiences why this period of filmmaking remains unmatched for pure imaginative audacity.