11. Cloud (Kiyoshi Kurosawa, Japan)
Now, we are given a protagonist not to be sympathized with, a treatment that breaks our expectations, and pushes to break cinematic illusion. Is Kiyoshi Kurosawa anti-cinematic? He may be so. But the flip-side of βCloudββs βanti-cinemaβ is a productive chain where attempts for breaking and delinking bring out new experiences to uncover. This is ultimately refreshing. Considering that imaginations of βnewnessβ in cinematic forms are often given to technologies outside of the theatrical space β the so-called βexpanded cinemaβ, this film has the audacity to propose novelty within the very limitation of the two dimensional screen. (Epoy Deyto)
10. I, The Executioner (Ryoo Seung-wan, S. Korea)
The supporting characters, like the small villains and bumbling cops, though underwritten, are still a delight to watch. This probably explains why the plot tries hard to concentrate on so many timely subjects like school bullying, vigilante justice, police corruption, injustice and especially the impact of social media and influencers. Unfortunately, this also leads to a very predictable story which offers nothing really refreshing. Even with a change in tone which makes it slightly different from its predecessor, this is still a highly entertaining and slick looking sequel. Besides, the characters are fun and above all, the amazingly choreographed action alone is enough to make it a worthwhile watch. (David Chew)
9. Golden Kamuy (Shigeaki Kubo, Japan)
The action aspect is also impressive, with a number of βbigβ scenes standing quite out. The introductory one is the most massive, but the ones that feature bears, the one in the snow, and the appearances of the white wolf are also bound to stay on mind. Occasionally the SFX do falter, particularly when animals are involved. In general, though, the audiovisual aspect works well, additionally because Daisuke Soumaβs cinematography has captured the mountainous setting in rather impressive fashion. Lastly, the scene with Sugimotoβs interrogation will remind many of Takashi Miike, in another memorable moment here. (Panos Kotzathanasis)
8. Kill (Nikhil Nagesh, India)
That the villains are as despicable as they can be, with Raghav Juyal doing a great job as their leader Fani, and that they are two truly huge guys that are among the most formidable opponents, emerges as another point of greatness here. Lastly, the ending one of them receives is probably one of the most memorable and rewarding scenes in the whole movie. DP Rafey Mehmood captures the action and the claustrophobic setting of the train in outstanding fashion, while Shivkumar V Panickerβs frantic editing results in a very fitting thunderous pace. (Panos Kotzathanasis)
7. The Pig, The Snake and the Pigeon (Wong Ching-po, Taiwan)
The other issues of the movie concern the ending, which does border somewhat on the melodramatic and drags significantly on occasion, and the fact that the story, as was usually the case in HK action films, does not stand up to any scrutiny, with the holes found in abundance. Both these issues, however, are actually lost in the overall quality of rest of the filmic aspects of the title. Also worth mentioning is Wong Ching-poβs own editing, which results in a pace that is occasionally frantic, occasionally slower, fitting the story nicely on each occasion. Lastly, Jimmy Wongβs cinematography thrives in the βdarkβ scenes of the beginning of the movie, with the voyeuristic aspect working quite well in that regard. (Panos Kotzathanasis)
6. Raid on the Lethal Zone (Herman Yau, Hong Kong)
βRaid on the Lethal Zoneβ is a genuine action movie, which means the miniscule context is here just to service the fights. With its impressive visuals, though, and the fact that it becomes evident that the protagonists are far from invincible, the film will definitely satisfy fans of non-stop, thunderous action. (Panos Kotzathanasis)
5. 11 Rebels (Kazuya Shiraishi, Japan)
On a technical level, β11 Rebelsβ is definitely top notch. The combination of Naoya Ikedaβs cinematography, Hitomi Katoβs editing and the overall job done in the sound and the SFX result in a series of truly impressive sequences, with the explosion ones in particular being outstanding. Add to that the exquisite job in set design and costumes and you have a genuine audiovisual extravaganza. (Panos Kotzathanasis)
4. Kingdom: Return of the General (Shinsuke Sato, Japan)
The fourth instalment in what has come to be one of the best and most successful anime/manga adaptations is as epic as the previous parts, in the movie that concludes the first season of the anime (there are 5 by the way). βKingdom: Return of the Generalβ continues in the same, rather high quality of the previous movies, while has enough elements, particularly regarding the permeating drama, to make it stand out.
3. Moor (Adilkhan Yerzhanov, Kazakhstan)
Third is a charm as they say, and this is also the case with Adilkhan Yerzhanovβs βMoorβ, an uncompromising revenge thriller that world-premiered at Tallinn Black Nights, closing up a very sucessfull year for the Kazakh helmer whose βSteppenwolfβ screened to critical acclaim at the Berlinale, followed by βCadetβ which bowed in Tokyo. βMoorβ is unlike anything Yerzhanov has done so far, and yet β it bears the helmerβs unique signature: cynical gaze at the core of corruption in his homeland, silent heroes and burstd of violence. It is so far his most accomplished genre piece, masterly directed, lavishly produced and set up to the original score composed by Sandro di Stefano. It is also the first (of 20) of Yerzhanovβs feature films whose story isnβt set up in the village of Karatas, but in a large-scale (nameless) city where plenty of nasty things call for action by the eponymous Moor (Berik Aitzhanov), an ex-con and war veteran. (Marina Richter)
2. The Shadow Strays (Timo Tjahjanto, Indonesia)
Nowadays, when one wants to find non-PC, unapologetically fun, ultra violent movies, Indonesia is definitely the place to look. More specifically, Timo Tjahjanto is the one to look for, with films like βThe Night Comes For Usβ (2018) still echoing quite loud to fans of the category. βThe Shadow Straysβ is a more than worthy continuation of the aforementioned and definitely bigger in scope. (Panos Kotzathanasis)
1. Twilight of the Warriors: Walled In (Soi Cheang, Hong Kong)
Soi Cheang directs a genuine HK actioner, essentially incorporating all those elements that made the category so popular. In that fashion, we get a score of characters and a series of substories, huge plot holes and lack of logic, comments about the handover, a bit of melodrama, and as impressive and brutal action scenes as one can get. (Panos Kotzathanasis)
Now, we are given a protagonist not to be sympathized with, a treatment that breaks our expectations, and pushes to break cinematic illusion. Is Kiyoshi Kurosawa anti-cinematic? He may be so. But the flip-side of βCloudββs βanti-cinemaβ is a productive chain where attempts for breaking and delinking bring out new experiences to uncover. This is ultimately refreshing. Considering that imaginations of βnewnessβ in cinematic forms are often given to technologies outside of the theatrical space β the so-called βexpanded cinemaβ, this film has the audacity to propose novelty within the very limitation of the two dimensional screen. (Epoy Deyto)
10. I, The Executioner (Ryoo Seung-wan, S. Korea)
The supporting characters, like the small villains and bumbling cops, though underwritten, are still a delight to watch. This probably explains why the plot tries hard to concentrate on so many timely subjects like school bullying, vigilante justice, police corruption, injustice and especially the impact of social media and influencers. Unfortunately, this also leads to a very predictable story which offers nothing really refreshing. Even with a change in tone which makes it slightly different from its predecessor, this is still a highly entertaining and slick looking sequel. Besides, the characters are fun and above all, the amazingly choreographed action alone is enough to make it a worthwhile watch. (David Chew)
9. Golden Kamuy (Shigeaki Kubo, Japan)
The action aspect is also impressive, with a number of βbigβ scenes standing quite out. The introductory one is the most massive, but the ones that feature bears, the one in the snow, and the appearances of the white wolf are also bound to stay on mind. Occasionally the SFX do falter, particularly when animals are involved. In general, though, the audiovisual aspect works well, additionally because Daisuke Soumaβs cinematography has captured the mountainous setting in rather impressive fashion. Lastly, the scene with Sugimotoβs interrogation will remind many of Takashi Miike, in another memorable moment here. (Panos Kotzathanasis)
8. Kill (Nikhil Nagesh, India)
That the villains are as despicable as they can be, with Raghav Juyal doing a great job as their leader Fani, and that they are two truly huge guys that are among the most formidable opponents, emerges as another point of greatness here. Lastly, the ending one of them receives is probably one of the most memorable and rewarding scenes in the whole movie. DP Rafey Mehmood captures the action and the claustrophobic setting of the train in outstanding fashion, while Shivkumar V Panickerβs frantic editing results in a very fitting thunderous pace. (Panos Kotzathanasis)
7. The Pig, The Snake and the Pigeon (Wong Ching-po, Taiwan)
The other issues of the movie concern the ending, which does border somewhat on the melodramatic and drags significantly on occasion, and the fact that the story, as was usually the case in HK action films, does not stand up to any scrutiny, with the holes found in abundance. Both these issues, however, are actually lost in the overall quality of rest of the filmic aspects of the title. Also worth mentioning is Wong Ching-poβs own editing, which results in a pace that is occasionally frantic, occasionally slower, fitting the story nicely on each occasion. Lastly, Jimmy Wongβs cinematography thrives in the βdarkβ scenes of the beginning of the movie, with the voyeuristic aspect working quite well in that regard. (Panos Kotzathanasis)
6. Raid on the Lethal Zone (Herman Yau, Hong Kong)
βRaid on the Lethal Zoneβ is a genuine action movie, which means the miniscule context is here just to service the fights. With its impressive visuals, though, and the fact that it becomes evident that the protagonists are far from invincible, the film will definitely satisfy fans of non-stop, thunderous action. (Panos Kotzathanasis)
5. 11 Rebels (Kazuya Shiraishi, Japan)
On a technical level, β11 Rebelsβ is definitely top notch. The combination of Naoya Ikedaβs cinematography, Hitomi Katoβs editing and the overall job done in the sound and the SFX result in a series of truly impressive sequences, with the explosion ones in particular being outstanding. Add to that the exquisite job in set design and costumes and you have a genuine audiovisual extravaganza. (Panos Kotzathanasis)
4. Kingdom: Return of the General (Shinsuke Sato, Japan)
The fourth instalment in what has come to be one of the best and most successful anime/manga adaptations is as epic as the previous parts, in the movie that concludes the first season of the anime (there are 5 by the way). βKingdom: Return of the Generalβ continues in the same, rather high quality of the previous movies, while has enough elements, particularly regarding the permeating drama, to make it stand out.
3. Moor (Adilkhan Yerzhanov, Kazakhstan)
Third is a charm as they say, and this is also the case with Adilkhan Yerzhanovβs βMoorβ, an uncompromising revenge thriller that world-premiered at Tallinn Black Nights, closing up a very sucessfull year for the Kazakh helmer whose βSteppenwolfβ screened to critical acclaim at the Berlinale, followed by βCadetβ which bowed in Tokyo. βMoorβ is unlike anything Yerzhanov has done so far, and yet β it bears the helmerβs unique signature: cynical gaze at the core of corruption in his homeland, silent heroes and burstd of violence. It is so far his most accomplished genre piece, masterly directed, lavishly produced and set up to the original score composed by Sandro di Stefano. It is also the first (of 20) of Yerzhanovβs feature films whose story isnβt set up in the village of Karatas, but in a large-scale (nameless) city where plenty of nasty things call for action by the eponymous Moor (Berik Aitzhanov), an ex-con and war veteran. (Marina Richter)
2. The Shadow Strays (Timo Tjahjanto, Indonesia)
Nowadays, when one wants to find non-PC, unapologetically fun, ultra violent movies, Indonesia is definitely the place to look. More specifically, Timo Tjahjanto is the one to look for, with films like βThe Night Comes For Usβ (2018) still echoing quite loud to fans of the category. βThe Shadow Straysβ is a more than worthy continuation of the aforementioned and definitely bigger in scope. (Panos Kotzathanasis)
1. Twilight of the Warriors: Walled In (Soi Cheang, Hong Kong)
Soi Cheang directs a genuine HK actioner, essentially incorporating all those elements that made the category so popular. In that fashion, we get a score of characters and a series of substories, huge plot holes and lack of logic, comments about the handover, a bit of melodrama, and as impressive and brutal action scenes as one can get. (Panos Kotzathanasis)