Category Archives: All

Possible Love (2026) Review

The last 12 months could well be argued to be the best year for Korean cinema since 2003. It may seem like an improbable statement considering the film industry is still largely in a slump, driven by a lack of cinema attendance which has stubbornly refused to bounce back since the COVID-19 pandemic days, however at the same time the quality is hard to ignore. Park Chan-wook returned with No … Continue reading →

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A Better Jianghu (2026) Review

The popular Chinese streaming service iQIYI makes the first six minutes of each of its films available for free on its website, which inclines most iQIYI filmmakers to include a rip-roaring action sequence within the initial few minutes of a movie in order to hook a casual viewer’s interest. A Better Jianghu doesn’t really do that; sure, there’s a bit of a chase sequence early on, but director Liu Wenpu … Continue reading →

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Reawakened Man | aka Reawaken Man: The Red (2026) Review

In the opening scene of Reawakened Man we witness an undeniably janky CGI body flung from a cliff in the dead of night, its torso bouncing off rocks and through foliage before landing with an abrupt thud, before the next scene reveals it to be Koo Kyo-hwan. An actor who here continues to make his case for being to the mid-2020’s what Hwang Jung-min was to the mid-2010’s in terms … Continue reading →

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We’re Nothing at All (2026) Review

There was a time in the late 2000’s when it appeared director Herman Yau had made the shift from Category III shock master to gritty social drama filmmaker, with the likes of 2007’s Whispers and Moans and 2008’s True Women for Sale set in the world of Hong Kong’s less advantaged parts of society. However in retrospect, the subsequent years would reveal Yau to be a creative force who was … Continue reading →

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Knight Errant | aka Dragon Fist (1973) Review

Contrary to what the title would suggest, Knight Errant isn’t a period wu xia swordplay flick, but rather a contemporary basher – and weirdly, it shares its Chinese title not only with a Chor Yuen wu xia, but also John Woo’s groundbreaking A Better Tomorrow! On the back of their well-received DVD release of Master of the Flying Guillotine back in 2002, Pathfinder returned to the Wang Yu/First Films well … Continue reading →

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Tazza: The Song of Beelzebub (2026) Review

It’s been 20 years since the release of director Choi Dong-hoon’s Tazza: The High Rollers in 2006, one of the defining productions of the 2000’s K-Wave that, unlike today, was mainly driven by the countries cinematic output. A TV series adaptation followed in 2008, while the 2010’s delivered 2 sequels (2014’s Tazza: The Hidden Card and 2019’s Tazza: One Eyed Jack), and who can forget 2024’s (definitely not officially related) … Continue reading →

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Scavenger, The (2026) Review

If you’ve caught Liu Fengchao as a superkicker villain in recent action films like Black Storm and Wings of Dread on the Chinese streaming service iQIYI, chances are you’d be eager to see the award-winning Wushu athlete receive his own starring vehicle. Well, we’ve got a bit of a Monkey’s Paw situation here, because 2026 brings the release of an action-packed modern day thriller in which Liu Fengchao’s martial arts … Continue reading →

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Ghost in the Cell (2026) Review

There was a time during the 2010’s when Indonesia got tagged with the much bandied about label of action cinemas next big hope. However here in 2026, it’s become increasingly apparent that the hope which has been realised doesn’t belong to action cinema, but rather the Asian horror genre. A genre that Japan and its slew of long black-haired ghosts seemed to dominate in the early 21st century, it’s taken … Continue reading →

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Thai Fighters (2026) Review

Fair warning, I am absolutely overrating Thai Fighters by a fair margin simply because, well, it’s been so damn long since we’ve seen a Thai martial arts movie! Not counting Tony Jaa’s endeavors in the Chinese market such as Striking Rescue, the last time I can really remember sitting down for a bonafide Muay Thai action flick would have to be 2014’s Vengeance of an Assassin, which not-so-coincidentally was the … Continue reading →

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Fish, Fists and Ambergris | aka Chase for Amber (2025) Review

I’m always grateful for those moments when watching a movie leaves me that little bit smarter after the closing credits roll than I was before them. In the case of Vietnam’s Fish, Fists and Ambergris it takes the form of an expanded vocabulary, with the newly acquired knowledge that ambergris refers to “the solid, waxy, and flammable byproduct created in the digestive system of sperm whales” (thanks Google). Also commonly … Continue reading →

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Legend of the White Dragon (2026) Review

"Legend of the White Dragon" Poster

Losing your lead actor before filming has wrapped on a production is never easy, and not taking into consideration the emotional toll, the approaches taken to finishing a production that’s lost its lead over the years have ranged from questionable to admirable. When Bruce Lee died during the filming of Game of Death, Golden Harvest dusted off the footage 5 years later and attempted to complete it with lookalikes (and most … Continue reading →

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Hope (2026) Review

Ten years is a long time to wait for anything, but as a fan of director Na Hong-jin, that patience has finally paid off in 2026 with the release of Hope. Notwithstanding his 2023 short film Faith (made to promote the Samsung Galaxy S23 Ultra) and foray into producing with the 2021 Korea-Thailand co-production The Medium, the last time Hong-jin sat in the director’s chair for a feature length production was … Continue reading →

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Holiday (2006) Review

"Holiday" Poster

Onscreen text during the final moments of Holiday states “This film is for the victims of the Preventative Custody Policy”. A policy which was only abolished in September 2005, just 4 months before Holiday hit the cinema in January 2006, it was used to unfairly extend prison sentences under the guise that it would prevent the prisoner in question from going back to a life of crime. In reality it … Continue reading →

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Greenhouse (2023) Review

Whether it’s a stereotype or not, there can be a tendency to lump Korean indie features from debut directors together as being rather depressive affairs. Usually gritty character driven dramas centred around those on the bottom rungs of society and their daily struggles, the genre is an understandable go-to, able to be executed on a small to mid-budget while still being able to pack a powerful emotional punch. Director Lee … Continue reading →

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Bodyguard, The (2024) Review

In 2024 director Qin Pengfei seemed to be channelling the work ethic of Chang Cheh at his most productive, cranking out an impressive 6 productions spanning everything from period kung-fu flick, to wuxia styled swordplay, to contemporary actioner. It’s hardly a surprise that in the following year he’d take a break, before returning in 2026 with Wings of Dread, offering up the enticing prospect of Ashton Chen versus Iko Uwais. … Continue reading →

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