Hong Kong cinema, continued with shooting Wong’s two directorial projects Prince Charming (1984) and The Flying Mr. B (1985). In 1985 both Lam and Wong left Shaw Brothers for Golden Harvest where they continued their collaboration with Ghost Snatchers (1986) and The Seventh Curse (1986). Both films written by Wong Jing, the first one with him in a starring role and the second produced by him, these films marked a new direction in Lam’s career. Golden Harvest became Lams household studio for the rest of his career and Lam became their specialist director for films with mechanical and optical special effects. In 1987 Lam directed Killer's Nocturne, an epic revenge drama set in the gambling milieu of old Shanghai and written by Manfred Wong, the later writer and producer behind the immensely popular Young and Dangerous series. In 1988 Lam set the ground for the CAT III exploitation boom with his rape and revenge movie Her Vengeance. Another milestone in his filmography is the historical erotic comedy with fantasy elements Erotic Ghost Story (1990), which again started the whole stream of erotic films with historical / fantasy settings such as Sex and Zen (1991). At the same time Lam directed two spectacular adaptations of Makoto Ogino’s manga series Spirit Warrior – The Peacock King (1989) and Saga of the Phoenix (1990) starring Yuen Biao and Gloria Yip. Lam’s most notorious film is his 1991 over-the-top gore movie Story of Ricky. Meticulously true to its source material, this adaptation of the violent manga Riki-Oh by Masahiko Takajo and Tetsuya Saruwatari combines both recent trends in Lam's filmography – high concept adaptations of Japanese comics and hyper-violent exploitation films abundant with bodily fluids. Even though the film later gained a huge cult status in the West, in its day it did not do so well in the local cinemas. It grossed only HK$ 2 147 778, whereas Lam’s previous films for Golden Harvest usually grossed around 8 to 10 million HK$. Lam’s last film to date is The Cat (1992), an hallucinatory mixture of action, horror, comedy and science fiction. Critical analysis and recurring themes Combining low-brow comedy with elements of action, adventure and even horror, Lam Ngai Kai’s films starting with Ghost Snatchers are a prime example of Hong Kong cinema as a cinema of attractions as described by film scholar Tom Gunning and further examined in film studies all over