“Baby Assassins: Nice Days” Theatrical Poster

Director: Yugo Sakamoto
Cast: Akari Takaishi, Saori Izawa, Sosuke Ikematsu, Atsuko Maeda, Atomu Mizuishi 
Running Time: 112 min. 

By Paul Bramhall

Whatever your opinion of director and writer Yugo Sakamoto, what can’t be denied is that few filmmakers are keeping grounded martial arts movies alive quite like he is. In the 4 years spanning 2021 to 2024 his Baby Assassins trilogy has cemented a modern-day iron triangle of action goodness – with the other key players represented by co-star Saori Izawa and fight choreographer Kensuke Sonomura. That’s not counting The Janitor (which provided the assassins their first appearance) and the 12-episode mini-series. Admittedly, everything in-between the action is more of an acquired taste. The first Baby Assassins was an unsuccessful mix of forced quirkiness and abrasive characters, while the sequel struck a much more palatable balance. At the heart of every entry is the pairing of leads Saori Izawa and Akari Takaishi as the assassins of the title, and 2024 saw the release of the third entry, Baby Assassins: Nice Days.

Ditching the more episodic nature of the previous 2 entries, BA: ND (as I’ll refer to it from here on in) opts for a more linear narrative that does wonders for the pacing. For a start we don’t spend any time on the couch of their Tokyo apartment this time around, with the pair enjoying some downtime in the beachside town of Miyazaki, in-between a contracted hit the guild has assigned them to in the nearby locality. Problems arise though when they bust in on their target, only to find another assassin about to pull the trigger and beat them to it. Played by a scene stealing Sôsuke Ikematsu (Shoplifters, Death Note: Light Up the New World), he plays the classic renegade assassin with a passion for killing. His freelancer hitman proves to be a formidable opponent for the pair, resulting in him walking away unscathed, and their target managing to escape.

Displeased with their employee’s performance, the guild sends a pair of senior assassins to join Izawa and Takasihi, played by Atsuko Maeda (Before We Vanish, Masquerade Hotel) and newcomer Mondo Otani, with the foursome’s mission being to kill Ikematsu, and then finish off the original job. As expected, the socially awkward and carefree attitudes of Izawa and Takaishi soon start to clash with the no nonsense approach of their new colleagues, but when it turns out Ikematsu also works for the hilariously named Agricultural Assassin Co-Op, they realise they’ll need to work together to survive.

Sakamoto seems to have realised with the third entry that the recipe needed to be changed up to stay fresh, and by putting Izawa and Takaishi up against the wall from the beginning, it delivers the intended narrative thrust that gradually builds in momentum across the 112–minute runtime (marking the longest of the trilogy). The initial confrontation between Izawa and Ikematsu (which takes place as Takaishi attempts to chase down their target) is both brutal and innovative, with the pair literally fighting as they run, desperately trying to reach a handgun that’s constantly kicked or thrown further out of their reach. It shows all the signs of a collaboration between director, fight choreographer, and star who’ve worked together long enough to start pushing each other’s abilities to the next level, and it’s a delight to watch.

The decision to switch from CGI blood to fake blood is also a commendable one, with the makeup department not shying away from showing the damage that Ikematsu’s barrage of fists and feet take on Izawa, particularly when she’s left a bloodied heap on the floor at the end of their initial confrontation (and this is even before the title has appeared onscreen, which eventually arrives over 20 minutes in!). For the first time in the series there’s a tangible sense that one of them may possibly not make it to the end credits (even though the fact the TV series is set after this instalment acts as a minor spoiler that they both do).

Events transpire to give BA: ND somewhat of an Accident Man: Hitman’s Holiday vibe through the direction the plot takes, with the actual target (played by the singularly named Kaibashira – Koji Shiraishi’s Never Send Me, Please) eventually falling under the protection of Izawa and Takaishi. Hunted by members of ‘The Farm’ – the nickname for the previously mentioned Co-Op – the situational humor around the fact those who end up protecting him also plan to kill him once they’ve offed the troublesome Ikematsu delivers the intended laughs (much like the situation Scott Adkins and Perry Benson find themselves in!). In fact it’s fair to say that with this third outing Sakamoto shows a level of maturity when it comes to both the characterisation and the humour, with the latter no longer feeling as forced as it did in the first instalment.

While anyone clocking into any of the Baby Assassins movies (and now TV mini-series) will be doing so for the action, the investment in Izawa and Takaishi’s relationship feels much more relatable this time around, with the danger they’re in allowing both actresses to display a genuine concern for the other. The shift away from the cutesy and quirky actually allows both characters some breathing space to feel more like people the audience should care about, and by the time the end credits roll for the first time I was left wanting more.

However the most important aspect of BA: ND is, expectedly, the action. As mentioned earlier proceedings start off with a bang, and choreographer Kensuke Sonomura does a stellar job of building on the action as the plot progresses. In the same year he’d direct Ghost Killer, which starred one half of the Baby Assassins in the form of Akari Takaishi, for which he also handled the action, and while the fight action was of the usual high quality, one of my complaints was that the gunfights felt uninspired and flat. Not the case here, with a bullet riddled finale executed with creativity to spare, and while no one is ever going to mistake these movies for coming with a high budget, the kinetic energy of the scenes does enough to overlook any minor misgivings.

Where the action truly shines though is when the cast are left empty handed, or at least, armed only with a knife. Stuntman Santoshi Kibe not only clocks in an assistant action coordinator credit, but also makes one of his rare front of camera appearances (the last time was in 2019’s Hydra), playing the most feared assassin from the Agricultural Assassin Co-Op. Given the opportunity to bust out some monkey kung-fu against Mondo Otani in a basement carpark, his agility mixed with the fact he’s fully suited and booted make his brief appearance a memorable one. We need more monkey kung-fu in contemporary action movies (caveat: no references to Steven Seagal’s 2003 masterpiece Out for a Kill allowed)!

Of course the heavy lifting is given to Izawa in the finale, who after taking on a group of assassins in a frantic melee, is finally given the opportunity for a rematch against Ikematsu. Both know how to make Sonomura’s choreography shine, with the fight ensuring we understand she’s the underdog from the get-go, once more clearly being overpowered and outdone by the latter’s aggressive attacks. It’s a knock down drag out affair, and there’s some genuinely hairy moments when it seems a certainty the end is near, which only makes the way Iwatsu and Akaishi end up teaming up all the more satisfying. The culmination of everything the narrative has been building to so far, it ranks as one of the most satisfying final fights in recent years.

The expression goes that the third time’s a charm, and with Baby Assassins: Nice Days director and writer Yugo Sakamoto has very much proven it to be true. At the end of my review for Baby Assassins I concluded that “It’s really not an action movie, so at the end of the day, it’s both ironic and a little sad that there’s not much to recommend outside of it.” Just 3 years later, and the 3^rd instalment not only delivers on the action, but remembers to make us care about everything else as well. Recommended.

Paul Bramhall’s Rating: 8/10

The post Baby Assassins: Nice Days (2024) Review first appeared on cityonfire.com.

On August 18, 2025, Eureka will be releasing the Blu-ray (Region A/B) for Martial Law: Lo Wei’s Wuxia World, a 3-film collection that will include 1960’s The Black Butterfly, 1968’s Death Valley and 1971’s Vengeance of a Snow Girl.

A prolific writer and director, Lo Wei found fame in the 1970s following the enormous international success of The Big Boss and Fist of Fury, his collaborations with the inimitable Bruce Lee. In the years before he kickstarted a kung fu revolution, though, he had been working on an accomplished series of wuxia pian for Shaw Brothers. Presented here are three standout films drawn from Lo Wei’s wuxia world: The Black Butterfly, Death Valley and Vengeance of a Snow Girl.

In The Black Butterfly, a good-hearted thief acts as the Robin Hood of the martial world, robbing from the rich to give to the poor – and they begin by stealing a fortune in gold from a group of five ruthless bandits holed up at Five Devils Rock. Then, in Death Valley, the Lord of Chao Manor (Lo Wei) is murdered by his niece (Angela Yu Chien), leading to a bitter fight to claim his land and a clash between a hired swordsman (Chen Hung-lieh) and the Lord’s heir apparent (Yueh Hua). Finally, in Vengeance of a Snow Girl, a young woman (Li Ching) takes revenge for her murdered parents, who were killed in a dispute over the legendary Tsui Feng sword – leading to a final showdown on frozen ground.

Lo Wei’s The Black Butterfly, Death Valley and Vengeance of a Snow Girl are three of the finest wuxia films produced in the years before Bruce Lee’s meteoric rise to fame would cause a tectonic shift in the Hong Kong film industry, as the era of kung fu loomed on the horizon. Eureka Classics is proud to present all three films on Blu-ray for the first time in the UK.

Features:

• Limited Edition [2000 copies]
• Limited edition O-card slipcase featuring new artwork by Grégory Sacré (Gokaiju)
• Limited edition collector’s booklet featuring new writing on all three films in this set by Hong Kong cinema expert Camille Zaurin
• 1080p HD presentations of all three films on Blu-ray
• Optional English subtitles, newly revised for this release
• New audio commentaries on all three features by action cinema experts Mike Leeder and Arne Venema
• Hong Kong Hustle – new interview with Hong Kong cinema scholar Wayne Wong on the life and work of Lo Wei

This title will soon be available at The Goodie Emporium, a U.S.-based online store that currently has many Import Shaw Brothers/Golden Harvest/martial arts DVD/Blu-ray movies in-stock – with New titles being added regularly!

Watch Eureka’s Trailer for the collection below:

The post Eureka declares ‘Martial Law’! Lo Wei’s ‘Black Butterfly’, ‘Death Valley’ and ‘Vengeance of a Snow Girl’ arriving soon first appeared on cityonfire.com.

Execution in Autumn | Blu-ray (Eureka)

Today’s Deal on Fire is the Blu-ray (Region B) for Lee Hsing’s 1972 film, Execution in Autumn.

Referred to as “the godfather of Taiwanese cinema”, the films of director Lee Hsing (who passed away in 2021 at the age of 91) combined Western realism with the neo-Confucian ideals advocated by the nationalist government in Taiwan. Director of a number of masterpieces, presented here is the film he considered his personal favourite of all his films — and certainly his most successful — Execution in Autumn.

Since his childhood, Pei Gang (Ou Wei) has been spoiled by his rich grandmother who raised him after the death of his parents. Unable to control himself, in a fit of rage, Gang kills a pregnant woman – who indicated him as the father of her unborn child – and her cousins; for this he is sentenced to death, and will be beheaded in autumn, the traditional season for executions. His grandmother tries to save him, but this proves to be a task beyond her means. So, she makes him marry the young Lian (Tang Pao-yun), an orphan raised within the family, in prison, so that the Pei line does not die out.

Featuring a screenplay by Chang Yung-hsiang (who also wrote another Lee Hsing masterwork, Beautiful Duckling), Execution in Autumn comes to Blu-ray (from a 2K restoration) for the first time ever as part of the Masters of Cinema series, in time for its 50th anniversary.

Features:

• Limited Edition O-card slipcase (2000 copies only)
• 1080p presentation on Blu-ray from a stunning 2K restoration of the original film elements undertaken by the Taiwan Film Institute
• Original Mandarin audio (uncompressed LPCM)
• Optional English subtitles, newly revised for this release
• New video piece by film critic Tony Rayns
• PLUS: A Collector’s Booklet featuring new and archival writing

Order today from Goodie Emporium!

The post Deal on Fire! Execution in Autum | Blu-ray | Only $15.99 – Expires soon! first appeared on cityonfire.com.

Now available for pre-order exclusively from Goodie Emporium is Rising Tiger’s Limited Edition Blu-ray and DVD for The Brokenhearted, an award-winning indie thriller from writer, director and star, Leroy Nguyen (of the acclaimed Black Scar Blues).

Supplies are extremely limited, given its small production on physical media. As a bonus, the first 25 copies of The Brokenhearted will be hand-signed by the director himself.

So few legitimate independent, DIY-action feature films have been made (zero budget) by just calling in favors from friends to act. The Brokenhearted is true guerrilla-style filmmaking from one of the most acclaimed talents in the indie game!

A weary, small-time hoodlum (Nguyen) attempts to quell the escalating conflict between two of his childhood friends-one a struggling martial artist whose school fails after he takes out a loan, and the other a vicious loan shark intent on collecting the debt. The film also stars Samuel Joon Lee, Jackie Kim, Travis Davis, Gene Rush and Alex Au.

Limited Edition Features:

• Signed by writer, director and star, Leroy Nguyen (first 25 copies only)
• Collector’s card Signed by Leroy Nguyen (first 25 copies only)
• We had the dojang: The making of The Brokenhearted
• Trailer

The Blu-ray and DVD for The Brokenhearted will ship in the beginning of September. Secure your signed copy today exclusively at Goodie Emporium.

Watch the film’s Newest Trailer below:

The post The bad boy of Indie action is back! Leroy Nguyen’s award-winning ‘The Brokenhearted’ is now available for Pre-order first appeared on cityonfire.com.

“Yadang: The Snitch” Theatrical Poster

On Digital, Blu-ray and DVD on September 9th is Hwang Byeong-gug’s Yadang: The Snitch, the latest South Korean import from Well Go USA.

Framed and left for dead by the ruthless prosecutor he once served, Kang-su — a cunning drug informant — finds himself crippled and locked away. Years later, freed but broken, he teams up with a disillusioned detective to take down the corrupt power structure that betrayed him. Fueled by vengeance and a fierce will to reclaim his life, Kang-su’s fight for justice blurs the line between hero and villain. Ya Dang The Snitch — a gritty tale of betrayal and redemption.

Yadang: The Snitch stars Kang Ha-neul (Dongju: The Portrait of a Poet), Yoo Hae-jin (Confidential Assignment), Park Hae-joon (Heart Blackened), Ryu Kyung-soo (Broker) and Chae Won-bin (Doubt).

Don’t miss the film’s Trailer below:

The post A licky boom boom down! ‘Yadang: The Snitch’ arriving on Blu-ray, DVD and Digital September 9 from Well Go USA first appeared on cityonfire.com.

“Invincible Swordsman” Theatrical Poster

Director: Luo Yi Wei
Cast: Kitty Zhang Yuqi, Tim Huang Xiyan, Xuan Lu, Terence Yin, Sammo Hung, Yun Qianqian
Running Time: 118 min.

By Paul Bramhall

When Brigitte Lin was cast as the character Invincible Asia in 1992’s Swordsman 2, few could have predicted the role would become so iconic, leading Lin to spend the last 3 years of her acting career as a mainstay of the new wave wuxia genre. In just a few short years she appeared in more than 10 new wave wuxia’s, and her role in each is probably reason enough why, even with the technological advancements in the 30 years since, few directors have been bold (or dumb, depending on your perspective) enough to try and remake any of them. The last to try was Jacob Cheung, who in 2014 helmed The White Haired Witch of Lunar Kingdom, a re-make of Ronny Yu’s 1993 classic The Bride with White Hair, which was mostly met with negative reviews.

Now in 2025, for his sophomore feature director Luo Yi Wei decided to take a crack at remaking the very movie that made Lin such an iconic presence in the new wave wuxia genre, with Invincible Swordsman tackling the same story as Swordsman 2. Debuting in 2022 with Swords Drawn, Yi Wei admittedly has a convenient out of any potential comparisons, thanks to the fact the source material is one of wuxia writer Jin Yong’s novels, The Smiling, Proud Wanderer. While it’s almost impossible to count the number of time Yong’s The Condor Heroes has been adapted for the screen, comparatively The Smiling, Proud Wanderer is one of his lesser adapted stories. Apart from the Tsui Hark produced trilogy of the early 1990’s, there’s been a couple of TV adaptations in the 2000’s and that’s it, so the source materials relative scarcity of appearing onscreen make the comparisons to its last big screen adaptation all the more inevitable.

While The White Haired Witch of Lunar Kingdom saw Fan Bingbing step into the role that Brigitte Lin originally played, in Invincible Swordsman the honours go to Kitty Zhang (The Mermaid, Legend of the Demon Cat) who’s tasked with stepping into the shoes (or should that be billowing silk?) of Invincible Asia. In the role of Lunghu Chong (played by Jet Li in Swordsman 2) is Tim Huang (Creation of the Gods I: Kingdom of Storms, Creation of the Gods II: Demon Force), whose biggest problem is his friendship with Xuan Lu (Midnight Hair, Battle: The Insidious). She plays the daughter of a power-hungry clan leader played by Hong Kong mainstay Terence Yin (New Police Story, Special ID), so naturally Huang’s own clan doesn’t approve of their budding relationship, ultimately leading to him bring expelled.

Lucky for him, he’s taken under the wing of a martial arts master who’s been living in seclusion played by Sammo Hung (God of War, The Bodyguard), who trains him up on such awesomely named techniques like the Sword Nourishing stance. While Huang lives in isolation on the (equally awesomely named) Cliff of Contemplation, Zhang defeats Yin and becomes the leader of the Sun Moon Cult, imprisoning him by blocking his vital points, and vowing to take over the martial arts world. When Huang gets wind that his former clan is also in danger from her plans for world dominance, he decides to return to the world of jiang hu, using his new skills to go into battle with members of the cult. It’s in the midst of a fight that he mistakenly believes he saves Zhang, not realising who she is, beginning a doomed love story as the truth is bound to eventually reveal itself.

It goes without saying that Invincible Swordsman is a much more straightforward affair than its last iteration on the big screen. The whole element of how Invincible Asia is actually a man, who after making himself a eunuch has transitioned into a woman, is here not given a mention (despite being more culturally relevant today than it was in the early 90’s!). The only slight reference it gets is in a throwaway scene where Zhang admires the female servants she’s surrounded by, implying a feeling of physical attraction, although in a stark contradiction she then falls for Huang minutes later. There’s also understandably a lack of the political subtext that Tsui Hark is known for, but considering China’s current cinematic climate that’s to be expected. Instead we’re left with a relatively pedestrian re-telling of the source material, one that gets by on the goodwill of seeing the likes of Sammo Hung back in a wuxia production again.

More an extended special appearance than a supporting role, Hung’s main duty is to pass on his martial arts skills to Huang in a CGI rendered clifftop setting, and it’s always a pleasure to see him onscreen. The last time he was in a wuxia you have to go back to 2010’s 14 Blades, but his role here as a white bearded martial arts master is more likely to recall his role in Wong Jing’s 1993 slice of wuxia madness Kung Fu Cult Master (speaking of which, it’s Wong Jing who’s on script and producer duty for Invincible Swordsman). Hung’s always been able to evoke a sense of authority when his performances call for it, something we saw last in the previous year’s Twilight of the Warriors: Walled In, and it’s a joy to see the elder statesman of kung-fu cinema supplant that same authority from a contemporary setting into a wuxia one.

Others fare less well. As the main character Huang is decidedly one note, appearing in every scene like he’s just been told to “smoulder for the camera”, and little else. Sure any wuxia flick requires a degree of posing in a variety of heroic martial arts stances, but when the entire performance feels like posing, it becomes a problem. Similarly Zhang struggles to make the role of Invincible Asia her own, too often feeling like she watched Swordsman 2 on repeat for a few weeks, then attempted to emulate Brigitte Lin’s performance as best she can. Inevitably, the scenes they share together which are intended to carry the most dramatic weight land with a resounding thud, devoid of any chemistry.

Regardless of performance quality though, the one aspect of Invincible Swordsman that nobody can escape from is a painfully pretentious script. Almost as if ChatGPT had been asked to create a script consisting entirely of fortune cookie pondering, lines like “Gain and loss are but two sides of the same coin” and “How long is an inch of justice? How long is an inch of longing?” are commonplace. It kind of feels like there was an unspoken rule that if a character was going to speak, they had to come out with something deeply profound, but the result is one that leads to plenty of eyerolling fairly early on. If anything, it came as a relief when there was a scene involving one of the clans throwing a celebration, and the song they decided to belt out consisted purely of a bunch of men chanting “raa raa raa!” on repeat.

That leaves the action, which sees Wu Yue (Paradox, The Brink) stepping into an action director role for the first time since 2016’s The Adventures of Wei Bao, and he does a serviceable job. Invincible Asia’s threaded needles benefit best from the CGI enhancements, with one particular scene involving a character getting one of them straight through his eyeball, which is then used to pull him forward. The appearance of a trio of villains – named Greed, Anger, and Ignorance – also feels like a call back to the crazed wuxia’s of yesteryear, with the use of a lute and oversized butchers knives providing both variety and energy to the action beats. There’s nothing really on display that hasn’t been seen before though, and there’s a distinct feeling we’re watching the go-to action beats from the ‘Wuxia Wirework for Non-Martial Artists’ playbook, meaning there’s no standout moments to separate Invincible Swordsman from its contemporaries.

As it stands, for his sophomore feature director Luo Yi Wei shows just how far the Chinese web movie industry has come in the last 15 years, as Invincible Swordsman received a theatrical release despite being funded by the likes of iQIYI and Tencent, production companies that once exclusively made movies for streaming. Indeed the budget may be higher, the CGI locations now mixed with actual location shooting, and the runtime much longer, but is Invincible Swordsman likely to stay in the memory any longer than the average 75-minute web movie wuxia? Honestly, probably not.

Paul Bramhall’s Rating: 6/10

The post Invincible Swordsman (2025) Review first appeared on cityonfire.com.

On October 28, 2025, Shout! Factory is releasing A Chinese Ghost Story Trilogy, a 6 film collection. Read the official details below…

Romance, comedy, and extraordinary fantasy collide in the sumptuous A Chinese Ghost Story Trilogy. This acclaimed and influential series sparked a wave of ghostly films in Hong Kong, and bolstered the stardom of many of its cast and crew.

Produced by Tsui Hark (Once Upon A Time In China) and featuring performances by Leslie Cheung (Farewell My Concubine), Joey Wang (Casino Tycoon), Jacky Cheung (Bullet In The Head), and Tony Leung (Hard Boiled), A Chinese Ghost Story Trilogy is a must-have for your collection of Hong Kong Cinema Classics.

A CHINESE GHOST STORY (1080p High-Definition Widescreen (1.85:1) / Cantonese & English DTS-HD Master Audio Mono / 96 min.)

In this beloved cult classic fantasy, a traveling tax collector (Leslie Cheung) short on funds opts to take shelter in a seemingly abandoned temple. He is surprised to discover a beautiful maiden (Joey Wang) there, and instantly falls for her beauty and grace. While every romance has its challenges, the tax collector gets more than he bargained for when he learns that the maiden is in fact a ghost forced into servitude by a demon. With the help of a brave warrior, the tax collector must brave the perils of a supernatural world in order to free his newfound love.

A CHINESE GHOST STORY II (1080p High-Definition Widescreen (1.85:1) / Cantonese & English DTS-HD Master Audio Mono / 103 min.)

This vibrant sequel to the 1987 original A Chinese Ghost Story finds our innocent tax collector hero (Leslie Cheung) falsely imprisoned. Upon escaping, he crosses paths with a pair of rebellious women (Joey Wang and Michelle Reis). Though mourning the loss of his ghostly love, his broken heart must heal in a hurry in order to face a new series of paranormal encounters and adventures.

A CHINESE GHOST STORY III (1080p High-Definition Widescreen (1.85:1) / Cantonese DTS-HD Master Audio Mono / 109 min.)

The A Chinese Ghost Story Trilogy concludes with this third installment. In many ways a retelling of the original film’s story, A Chinese Ghost Story III sees Joey Wang reprising her role from the 1987 classic as a stunning and supernatural spirit. A hundred years after the events of A Chinese Ghost Story, the demon who held the gorgeous ghost under its spell has reawakened to reclaim her.

Bonus Features for Blu-ray

DISC ONE: A CHINESE GHOST STORY (1987)

• NEW 4K Scan From the Original Camera Negative
• Audio: Cantonese DTS-HD Master Audio Mono
• NEW Optional English Subtitles Newly Translated For This Release
• NEW Audio Commentary With James Mudge, Hong Kong Film Critic At easternKicks
• NEW “A Leslie Cheung Story: Hong Kong’s Eternal Icon” – A Feature Length Documentary On The Cantopop And “A Chinese Ghost Story” Sensation Leslie Cheung – Featuring Interviews With A Chinese Ghost Story Cinematographer Ray Wong, Composer Richard Yuen, Musical Collaborator Chris Babida, Stunt Actors Mars And Chu Ko, Academics Victor Fan And Chen-Yu Lin, And Film Critics James Mudge And David West
• Theatrical Trailer
• Image Gallery

DISC TWO: A CHINESE GHOST STORY II (1990)

• NEW 4K Scan From the Original Camera Negative
• Audio: Cantonese DTS-HD Master Audio Mono, English DTS-HD Master Audio Mono
• NEW Optional English Subtitles Newly Translated For This Release
• NEW Audio Commentary With James Mudge, Hong Kong Film Critic At easternKicks
• NEW “Story Of A Sequel” – An Interview With Author And Critic David West
• Archival Interview With Composer James Wong
• Theatrical Trailer
• Image Gallery

DISC THREE: A CHINESE GHOST STORY III (1991)

• NEW 4K Scan From the Original Camera Negative
• Audio: Cantonese DTS-HD Master Audio Mono
• NEW Optional English Subtitles Newly Translated For This Release
• NEW Audio Commentary With James Mudge, Hong Kong Film Critic At easternKicks
• NEW “Third Time Lucky” – Interview With Author And Critic David West
• Archival Interview With Composer James Wong
• Archival Interview With Martial Arts Director Yuen Bun
• Theatrical Trailer
• Image Gallery

The post I ain’t afraid of no ghosts! Shout announces Blu-ray collection for ‘A Chinese Ghost Story Trilogy’ arriving in October first appeared on cityonfire.com.

“Hostile Takeover” Theatrical Poster

Next month, Michael Jai White (Triple Threat, Accident Man) will tear up the joint in Hostile Takeover, the latest from cult filmmaker Michael Hamilton-Wright (The Mangler 2).

This upcoming action-comedy follows Pete (White), a professional hitman, as he faces a group of assassins after the boss of a crime syndicate suspects disloyalty due to his attendance at Workaholics Anonymous meetings.

The film also stars Aimee Stolte (Magalodon), Dawn Olivieri (Bright), Aleks Paunovic (War of the Planet of the Apes), Alex Mallari Jr. (Dark Matter) and Damon Runyan (Star Trek: Discovery).

Hostile Takeover hits select theaters and on VOD on August 8 from Quiver. Watch the Trailer below:

The post The man who can beat up Bruce Lee (in real life) is back! Trailer for ‘Hostile Takeover’ starring Michael Jai White first appeared on cityonfire.com.

“Highest 2 Lowest” Teaser Poster

In 2013, noted filmmaker Spike Lee (Do the Right Thing) remade Park Chan-wook’s 2003 masterpiece, Old Boy. Now, the award-winning director is back with Highest 2 Lowest, a remake of Akira Kurosawa’s 1963 thriller, High and Low.

The original High and Low centered on an executive (Toshiro Mifune) of a Yokohama shoe company becomes a victim of extortion when his chauffeur’s son is kidnapped by mistake and held for ransom.

In the remake – now played out on the mean streets of modern day New York City – a titan music mogul (Denzel Washington) is targeted with a ransom plot, and ends up jammed up in a life-or-death moral dilemma.

Highest 2 Lowest also stars A$AP Rocky, Ilfenesh Hadera, Jeffrey Wright, Dean Winters, John Douglas Thompson and rapper Ice Spice.

A24 is releasing the film theatrically on August 15, 2025, followed by a streaming release on September 5, 2025. Don’t miss the New Trailer below:

The post Can Spike Lee take Kurosawa higher? New Trailer for ‘Highest 2 Lowest’ starring Denzel Washington and Jeffrey Wright first appeared on cityonfire.com.

On September 30, 2025, Shout! Factory is releasing Hong Kong Gamblers & Gangsters, a 6 film collection. Read the official details below…

Celebrating the popular gambling and crime drama subgenres of Asian cinema, Hong Kong Gamblers & Gangsters presents six films that deal out intrigue and thrills in equal measure. Taking viewers from the glitz and glamor of the casino floors to the seedy underbelly of the city streets, this collection is one you won’t want to bet against.

CASINO TYCOON (1080p High-Definition Widescreen (1.85:1) / Cantonese DTS-HD Master Audio Mono / 130 min.)

Benny Ho San, a refugee (Andy Lau, Infernal Affairs) with luck, charm, and skills to spare rises to the top of the thrilling world of gambling.

CASINO TYCOON II (1080p High-Definition Widescreen (1.85:1) / Cantonese DTS-HD Master Audio Mono / 112 min.)

Andy Lau doubles down in this sequel, reprising his role as Benny Ho San. Now a casino boss, his power is tested by forces from without and within.

CHALLENGE OF THE GAMESTERS (1080p High-Definition Widescreen (2.35:1) / Cantonese DTS-HD Master Audio Mono / 104 min.)

The money and the mahjong tiles fly in this precursor to the New Wave of Hong Kong gambling films, from acclaimed director Wong Jing.

DESTINY’S CHAMPION (1080p High-Definition Widescreen (1.85:1) / Cantonese DTS-HD Master Audio Mono / 101 min.)

When an aging fighter crosses paths with a streetwise kid, the boxer finds himself reliving his own violent past and the mistakes he made along the way.

GODFATHER FROM CANTON (1080p High-Definition Widescreen (1.85:1) / Cantonese DTS-HD Master Audio Mono / 85 min.)

After saving a government official, a man is offered a job as a policeman. Through treachery and corruption, he rises through the ranks of the police, then becomes a brutal gangster.

LOVING YOU (1080p High-Definition Widescreen (1.85:1) / Cantonese DTS-HD Master Audio Mono / 83 min.)

Struggling in a loveless marriage, a hard-drinking workaholic cop finds a chance at redemption after a fateful accident leaves him wounded.

The post Shout… shout… let it all out! Blu-ray for ‘Hong Kong Gamblers & Gangsters’ collection arriving in September first appeared on cityonfire.com.

On November 25, 2025, 88 Films is releasing the Blu-ray (Region A/B) for Rosa, a 1986 Hong Kong action film directed by Joe Cheung (The Flaming Brothers).

Starring Yuen Biao (The Hunted Hunter) and Lowell Lo (Magnificent Warriors), Rosa follows two ambitious graduates of the police academy bumble their way through their first big case.

The film also stars Kara Hui (Burning Ambition), Paul Chun (Return to a Better Tomorrow), James Tien (Lady Reporter), Charlie Cho (Police Story 2), Dick Wei (Final Run) and Chung Fat (Deadful Melody).

Features:

• Limited Edition rigid slip case with new artwork by Sean Longmore
• Limited Edition 40-page perfect bound book
• Limited Edition premium artcard
• Brand new 2K restoration from the original negative
• Remastered original Cantonese monaural soundtrack
• Newly translated English subtitles
• Audio commentary by David West
• Image gallery
• Original trailer
• More info TBA

This title will be available at The Goodie Emporium, a U.S.-based online store that currently has many Import Shaw Brothers/Golden Harvest/martial arts DVD/Blu-ray movies in-stock – with New titles being added regularly!

Watch the Trailer below:

The post Ready for another Yuen Biao Golden Harvest presentation? 88 Films releasing a Blu-ray for Joe Cheung’s ‘Rosa’ first appeared on cityonfire.com.

Hi-YAH!, Well Go USA’s very own Asian/martial arts streaming channel has just announced their New Releases for the month of August.

If you want to give Hi-YAH! a go, visitors of this site can use the promo code “CITYONFIRE” for a FREE 30 Day trial!

Read on for the full list of New and Exclusive titles:

8/1/25 | The Witch 2: The Other One

There’s an inescapable feeling while watching The Witch: Part 2. The Other One that what we have is an entertainingly schlocky B-movie, that somehow accidentally got dressed in an epic big budget productions clothes. For those that enjoyed the original, and not just for Kim Da-mi’s performance, there could well be something to enjoy here, since it essentially offers more of the same. | Read our full review.

8/1/25 | A Fist Within Four Walls (Season 1/Episode 24)

Looking for more action that revolves around the infamous Kowloon Walled City? Before 2024’s Twilight of the Warriors: Walled In, there was the 2016 TVB series, A Fist Within Four Walls.

Chor Au-Kuen (Ruco Chan) bears the grief of the loss of his family and returns to the walled city in hopes of finding his long lost sister, only to find out that the place he grew up in has become a lawless no man’s land…

A Fist Within Four Walls also stars Nancy Wu (Men on the Dragon), Benjamin Yuen (Infernal Affairs), Yuen Qiu (Kung Fu Hustle) and Philip Ng (Twilight of the Warriors: Walled In).

8/8/25 | The Ghost Station

The Ghost Station is not going to be the next The Grudge. The overall lack of original images pretty much ensures that it won’t have the same impact on the genre as its forebears. However, those of us who pine for a return to the turn-of-the-century golden age of Eastern horror aren’t necessarily looking to see the wheel reinvented in real time. In fact, a well-made, fun throwback like The Ghost Station might be just what the doctor ordered. | Read our review.

8/8/25 | A Fist Within Four Walls (Season 1/Episode 25)

The continuing saga of the 2016 TVB series, A Fist Within Four Walls that stars Ruco Chan (The Righteous Fists), Nancy Wu (Men on the Dragon), Benjamin Yuen (Infernal Affairs), Yuen Qiu (Kung Fu Hustle) and Philip Ng (Twilight of the Warriors: Walled In).

8/15/25 | The Childe

With a welcome streak of humor, and zero compromise on his typically violent approach to storytelling, I’d be willing to say The Childe is the best work Hoon-jung has done since his sophomore feature with 2013’s The New World. The fact that it’s under 2 hours and features a scene stealing performance from Kim Seon-ho is just the icing on the cake. | Read our review.

8/15/25 | A Fist Within Four Walls (Season 1/Episode 26)

The continuing saga of the 2016 TVB series, A Fist Within Four Walls that stars Ruco Chan (The Righteous Fists), Nancy Wu (Men on the Dragon), Benjamin Yuen (Infernal Affairs), Yuen Qiu (Kung Fu Hustle) and Philip Ng (Twilight of the Warriors: Walled In).

8/22/25 | Bangkok Dog (Hi-YAH! Exclusive)

Taken from the perspective of Bangkok Dog being the modern equivalent of a DTV action flick, there’s enough brutal knees and flying kicks delivered to satisfy anyone looking for a throwback to Thai action cinemas glory days. At one point Sao’s superior asks him “Do you always have to go kung-fu on every mission!?” To which Sao replies with a smirk, “It works.” The same question could just as well be applied to Bangkok Dog itself, as without the kung-fu it’d be a pretty lamentable excuse for a movie, but with it, well, it works. | Read our review.

8/22/25 | A Fist Within Four Walls (Season 1/Episode 27)

The continuing saga of the 2016 TVB series, A Fist Within Four Walls that stars Ruco Chan (The Righteous Fists), Nancy Wu (Men on the Dragon), Benjamin Yuen (Infernal Affairs), Yuen Qiu (Kung Fu Hustle) and Philip Ng (Twilight of the Warriors: Walled In).

8/29/25 | Noryang: Deadly Sea

Filmmaker Kim Han-Min (War of the Arrows) is back at the wheel with Noryang: Deadly Sea, the third part of the saga that started with 2014’s The Admiral: Roaring Currents and 2022’s Hansan: Rising Dragon.

The seven-year Imjin War nears an end as Admiral Yi Sun-shin leads an allied fleet against the Wae army to fight his last valiant battle at Noryang Strait.

The film stars Kim Yun-Seok (The Chaser), Baek Yoon-Sik (Inside Men), Jung Jae-Young (Carter), Heo Jun-Ho (Escape from Mogadishu), Ahn Bo-Hyun (Hiya), Kim Sung-Kyu (The Gangster, The Cop, The Devil).

8/29/25 | A Fist Within Four Walls (Season 1/Episode 28)

The continuing saga of the 2016 TVB series, A Fist Within Four Walls that stars Ruco Chan (The Righteous Fists), Nancy Wu (Men on the Dragon), Benjamin Yuen (Infernal Affairs), Yuen Qiu (Kung Fu Hustle) and Philip Ng (Twilight of the Warriors: Walled In).

The post Witches, Dogs, Ghosts and a half Korean-Filipino boxer! Here’s what’s streaming on Hi-YAH for the month of August first appeared on cityonfire.com.

Project Silence | 4K Ultra HD (Capelight)

Today’s Deal on Fire is the 4K Ultra HD SteelBook for Project Silence, a South Korean disaster thriller from writer/director Kim Tae-Gon (Familyhood, Sunshine Boys).

The film stars the late Lee Sun-Kyun (Parasite, Kingmaker) and Ju Ji-Hoon (Along with the Gods: The Last 49 Days).

Co-written by Kim Yong-Hwa of Along with the Gods: The Two Worlds and Along with the Gods: The Last 49 Days, Project Silence follows an accident that occurs on a foggy bridge and, as a result, an unknown beast is unleashed.

Project Silence also stars Kim Hee-Won (The Divine Move 2: The Wrathful), Moon Sung-Geun (Burning), Ye Soo-Jung (The Hunt), Kim Tae-Woo (Rampant), Park Hee-Von (Will You Be There?), Park Ju-Hyun (Seoul Vibe) and Kim Soo-Ahn (The Mimic).

Order today from Goodie Emporium!

The post Project Silence | 4K Ultra HD | Only $18.99 – Expires soon! first appeared on cityonfire.com.

Gritty poker tables, Vibrant Vegas lights and smooth operators who never sweat a bet—filmmakers have really played a massive role in defining how gambling looks and plays today.

While more and more go online, the silver screen really still makes its mark. From style to suspense, films long predated casino culture’s impact.

Scenes of Casinos That Last Forever

Films have long enjoyed a scene set in a casino. Chip clatter, spinning roulette, eyeball lock across a poker table – it’s terrific theater for cinema.

Films like Casino, Rounders and Ocean’s Eleven didn’t just show gambling. They gave it style. These scenes turned betting into a performance — sharp suits, perfect lines and all the risk in the world.

Since betting is being done over the internet, those very same pictures have not disappeared. They’ve just transferred to cyberspace. The vast majority of casino websites have that same smooth, film-like appearance.

Even games like the Aviator bet reflect this. It’s simple but intense. The longer the multiplier rises, the more the tension builds — like in a slow-burning movie scene before a big payoff.

Movies Gave Gambling Its Swagger

It wasn’t that old movies featured poker-faced poker players. They did so with a certain flair—in loose, effortless style. The player wasn’t so much shuffling cards; he was reading the room, noting every glance, every flinch, every breath. In The Cincinnati Kid with Steve McQueen or The Sting with Paul Newman, the player wasn’t so much a man sitting by a table. He was the hero. He won or lost with style.

It wasn’t luck. It was being present. It was calm. It was reading people and staying calm, taking calculated risks where they mattered. Those were educated guesses, not wild ones. The gambler wasn’t reckless—he was in control.

This image resonated with us. It categorized how poker was perceived to that date. Some come to a poker game with a sense of Hollywood glamour and that same cool. Some make a sporting bet as if it’s a next-scene plot development from a personal script. There’s a story being written and they’re dictating things.

It’s a filmic confidence that doesn’t stem from swagger. From technique. From stacking chips to reading odds, small rituals within games are reminiscent of shots from those old movies. From suit-cut to pre-bluff pause, every moment feels choreographed—because it’s been, over decades, film.

Those old motion picture personalities set the pattern. Players still do, though unconsciously, not just for tactics but also for attitude. Because where film and gambling are involved, style outweighs the end.

Internet Casinos, Movie Style

When casino games went online, they did not lose their dramatic sensibility. They embraced it.

Slot machines even have whole storylines and cinematic-looking visuals. The table games have dark lighting and silky smooth camera transitions, similar to a television crime series.

The aviator bet embodies film tension. It’s neither flashy nor necessarily needs to be. It constructively ramps tension with every passing second — a suspenseful action film countdown sequence. Too early and there’s guilt. Too late and it’s all coming down.

That payoff and risk balance? Pure cinema.

Even the looks and feel of betting platforms and programs borrow from films. Fonts, colors and sonic effects also reference the noir look of old gambling scenes.

Movie Style, Global Popularity

The power of film doesn’t stop where a language stops. Casino action plays just as well in Paris, Los Angeles or Tokyo. Tension doesn’t have a culture and style doesn’t either.

That’s why casino games, by inference, now look global. Everyone knows what a high-limit table should be. Everyone knows the slow pace beyond a bustling casino floor.

Websites reflect that communal imagination. Even something so new and transitory as an airplane bet seems related to those old-time moments—waiting, watching, holding one’s breath.

It’s no longer about winning or losing. It’s about the experience and that experience is defined by decades of cinema.

When the Story Comes Full Circle

Movies impact bets. But bets also impact movies nowadays.

In contemporary movies, one can see depictions of internet betting; the characters gamble on sports using their phones. They are playing poker virtually and the boundaries between virtual and real life are being tested.

These kinds of games, such as the aviator bet — quick, crisp, high-tension — are just right for this new fashion. They seem to be plucked from a high-style robbery film and played that way.

This loop never stops. Everyone looks at movies and then seeks to find that emotion within games. Game developers see that and make games that recreate the atmosphere from a monitor.

It’s not just about mechanics anymore. It’s about the story.

The Closing Scene

The games of casinos have evolved but movie magic, though, never disappeared.

From Vegas floors to phone screens, the suspense really really still attracts players. The movies provided a face to gambling — suave, savvy, a bit reckless. That image stuck.

These days, when one opens up a betting platform or tries an aviator, they’re stepping into that same world. The lights are virtual. The table is digital. But the feeling? Very raw cinema still. It’s all about the moment, just as with movies. The moment just before victory. The moment just before destruction. And that’s what makes them repeat customers — to get their dose thereof, their fix, their tale worth watching.

The post The Cinematic Allure of Casino Gaming first appeared on cityonfire.com.

“Wall to Wall” Netflix Poster

Director: Kim Tae-joon
Cast: Kang Ha-neul, Seo Hyun-woo, Yeom Hye-ran, Kim Hyun-Jung, Jeon Jin-Oh, Park Sung-Il, Yoon Jung-Il, Kim Yoon-Jin, Lee Jong-Goo, Na Ho-Sook
Running Time: 118 min.

By Paul Bramhall

Wall to Wall, or 84 Square Metres as its Korean title directly translates to, fits into that distinctly 21^st century genre of homeowner anxiety. In Korea such productions usually find themselves set in one of the myriad of towering apartment complex villages, where multiple faceless residential towers provide a backdrop for everything from stalking to murder, all set within that one place we should feel the safest – home. The likes of 2013’s Hide and Seek, and 2018’s double-bill of Door Lock and The Witness, have all effectively used apartment spaces to create a sense of tension, and Wall to Wall takes a similar approach in its story of a new homeowner becoming increasingly frustrated with his neighbours.

Played by Kang Ha-neul (Yadang: The Snitch, The Pirates: The Last Royal Treasure), an effective opening plays out in montage to bring the audience up to speed on his life, the events which briefly flash up onscreen culminating with the purchase of said apartment. Now with a precious piece of Seoul real estate to call his own, it’s soon revealed it came at a cost, with the decision taken to call off his own wedding, and his loan status completely maxed out. Essentially broke, Ha-neul spends his time stealing food supplies from the office pantry to avoid buying his own, uses a camping light rather than use any electricity, and stubbornly refuses to turn on the air conditioning even at the height of summer. All of these inconveniences pale in comparison though to his biggest source of frustration – the noise from the upstairs neighbours, of which the banging and running around is almost constant.

The sophomore feature from director Kim Tae-joon after 2023’s underwhelming Unlocked, both of which he also wrote, like his debut Wall to Wall also comes courtesy of Netflix, making him the first Korean director for whom all of his work has released exclusively to the streaming giant. There’s a recurrent theme so far in the two movies he’s made, with Chun Woo-hee feeling trapped by her phone in Unlocked, and likewise Ha-neul feels like he’s trapped by his own apartment in Wall to Wall. With interest rates on the rise his repayments are becoming more and more unmanageable, to the point that he finishes his office job only to spend the evenings on his bike making food deliveries. Coming home to a flurry of Post-it notes on his door from the downstairs neighbours complaining about the noise, the case of mistaken apartment sends Ha-neul on a mission to find the real culprit, starting with the neighbour directly above.

Greeted by Seo Hyun-woo (Nocturnal, Thunderbird), his tattooed and heavily scarred character is enough to take the wind out of Ha-neul’s riled up sails, however the plot thickens when Hyun-woo also reveals he’s constantly disturbed by noise from his upstairs neighbours. The biggest issues though seems to be that any time Ha-neul brings another character into his apartment, usually in an attempt to prove he’s experiencing the same noise from upstairs as his neighbours have pinned on him, the only sound is one of silence. It’s a subtle but powerfully effective way to demonstrate that Ha-neul isn’t the most reliable of narrators, and just how much of his perspective that we watch the movie through is reflecting actual reality?

From a director standpoint sophomore features are always interesting to watch, and personally my approach to them is usually dependant on my feeling towards their debut. If it was a strong debut, are they able to build upon it for their 2^nd feature (Jeong Joo-ri’s A Girl at My Door and Next Sohee being a classic example), or alternatively, if the debut wasn’t so strong, have they been able to take the learnings and apply them to make an engaging 2^nd feature? I was hoping Tae-joon would fall into the latter category, and by being placed into the headspace of Ha-neul through the constant sound of footsteps overhead and his strained mental state, Wall to Wall proved he definitely had. Not that preconceptions should play any part in a review, but I’d initially been worried it was going to be another tale of greedy homeowners preying on the poor, which we’ve seen far too much of from Korean cinema in recent years.

Instead we’re thrust into Han-neul’s world as his enquiries see him navigate the apartment hierarchy. Coming into contact with the Resident Representative and penthouse owner, played by Yeom Hye-ran (Cobweb, Special Delivery), she reveals that the Post-it note happy couple living under Ha-neul are only renting, and would be happy assist in ensuring they leave the complex at the end of their tenancy. It’s an interaction that raises the question of if it’s happening at all, or is what we’re seeing a reflection of what’s going on in Ha-neul’s imagination? While the latter is the far more interesting approach, unfortunately, it happens to be the former. In fact not only did the conversation actually take place, but those sounds of someone constantly stomping and banging around overhead? They all turn out to be for real as well.

So, if we’re not following a character’s descent into madness based on his perceived noisy neighbours and suffocating financial pressure that see him living more like a squatter than an apartment owner, what exactly are we left with? The answer isn’t one I expected, if only because it made me feel like I’d been gaslighting myself, but to summarise it in a nutshell – Wall to Wall isn’t a psychological thriller at all, but rather, it’s another tale of greedy homeowners preying on the poor. To say that Tae-joon’s script jumps the shark is probably an understatement, taking a sharp turn into increasingly ridiculous territory, as Ha-neul suddenly has to deal with a psychotic freelance journalist eager for content, and rich homeowners attempting to get richer through the most nefarious of means.

The comparison with Unlocked is inevitable, which similarly derailed in the latter half thanks to changes in plot direction that stretched believability, and Wall to Wall suffers from the exact same issue. If anything the issue is exasperated in this sophomore feature by the fact it requires the audience to backtrack, re-visiting certain moments that (at least in my case) felt like a certainty to be taking place in Ha-neul’s head, and accept them as reality. None of it works. By the time it reaches its stab happy finale, the promise of the claustrophobic first half feels completely squandered, instead relying on familiar tropes that we’ve seen plenty of times before.

As a director and screenwriter Tae-joon makes for a frustrating proposition. Both of the movies he’s helmed come with a unique angle that’s initially executed with plenty of promise, before devolving into overly familiar genre tropes that fail to convince. As the audience there’s a certain level of infuriation seeing ideas which start off strong, only for them to take a nosedive once you’re already too far in to go back. Compared to those movies which are clearly not going to be worth your time from the first 15 minutes, allowing you clock out early, it’s a different feeling all together if you come to the same realisation only when the end credits are rolling after almost 2 hours.

With that said, for anyone who’s lived (or does live for that matter!) in an apartment complex, there’ll be certain moments in Wall to Wall that feel relatable, essentially taking some of the minor inconveniences communal living can come with and magnifying them to insufferable levels. Out of all the entries in the homeowner anxiety genre, it’s still Hong Kong’s Dream Home from 2010 that feels like it towers about the rest, committing to its concept with joyful abandon that still allows it to feel relevant 15 years after its release. As for if anyone will still be talking about Wall to Wall 15 years later, I doubt anyone will be talking about it just a few weeks after its release.

Paul Bramhall’s Rating: 5/10

The post Wall to Wall (2025) Review first appeared on cityonfire.com.

“Tempest” Hulu Poster

South Korean superstar Gianna Jun (My Sassy Girl, Assassination) is back with a vengeance in Tempest, an upcoming series that will premier exclusively on Disney+ worldwide and on Hulu in the U.S.

Tempest features an all-star cast that includes Gang Dongwon (Broker, Peninsula), John Cho (Harold & Kumar), Lee Mi-Sook (An Affair), Park Hae-Joon (Yadang: The Snitch), Kim Hae-Sook (Tunnel), Oh Jung-Se (Hi-Five), Lee Sang-Hee (The Beast), Joo Jong-Hyuk (Because I Hate Korea) and Won Ji-An (A Year-End Medley).

Set in Korea, the series follows Seo Munju, a former United Nations Ambassador whose life gets flipped on its head when her husband, a presidential candidate, is assassinated in front of her. To discover the truth behind the attack, Munju takes up her husband’s role, becoming the party’s presidential candidate. With her life constantly in danger, Sanho, a mysterious mercenary will step up to keep her safe. However, with little known about him, can Munju really trust him?

Tempest is directed by Kim Hee-Won (Queen of Tears, Little Women) off a script by Chung Seokyung (Decision to Leave). Despite being a heavy in K-drama, you can expect some decent action pieces, since the series is co-directed by Heo Myunghaeng (Badland Hunters, Roundup: Punishment).

Tempest will premier exclusively on Disney+ worldwide and on Hulu in the U.S on September 10, 2025. Watch the series Trailer below:

The post My Sassy Spy? Watch the New Trailer for Hulu’s ‘Tempest’ starring Gianna Jun, Gang Dongwon and John Cho first appeared on cityonfire.com.

A sequel to Quentin Tarantino’s 2019 film Once Upon a Time… in Hollywood – titled The Continuing Adventures of Cliff Booth – is brewing with David Fincher (The Curious Case of Benjamin Button) directing a script written by Tarantino.

Frequent Fincher/Tarantino collaborator Brad Pitt (Fight Club, Inglorious Basterds) will reprise his role as Cliff Booth, the tough-guy Hollywood stuntman portrayed in the first movie.

For the sequel, it’s the late 70’s, and Cliff has transitioned from stuntman to “Hollywood studio fixer”. As a “fixer,” Booth would be the guy studios call when something—anything—needs to quietly disappear. Scandals, blackmail, problematic stars, even bodies. He operates in the shadows, loyal, unshakable, and totally unfazed by the dirt beneath Hollywood’s golden surface. It’s a natural evolution for a character already written as a war hero, stuntman, and possibly even a murderer (via World of Reel).

Co-starring alongside Pitt are Elizabeth Debicki (The Crown, Tenet), Scott Caan (Hawaii Five-0), Yahya Abdul-Mateen II (The Trial of the Chicago 7), Carla Gugino (American Gangster) and Corey Fogelmanis (I Wish You All the Best).

The latest actor to join the film is JB Tadena (CW’s Kung Fu) who is presumed to take on the role of Bill Vergara, a Filipino mobster and film financier (via World of Reel).

There was some talk about Leonardo DiCaprio returning as Rick Dalton, but according to The Hot Mic, Netflix offered him $3M for one day of shooting, but DiCaprio reportedly rejected the offer.

Speaking on The Big Picture podcast, Sean Fennessey, who is a friend of Tarantino’s, had the following to say: “This probably should not be thought of as a sequel. It should be thought of as a follow-up that is connected to, but not the same as — the example that was cited to me was, think about how The Big Sleep, the Raymond Chandler adaptation starring Humphrey Bogart, is in the same world as Farewell, My Lovely, the 1975 Robert Mitchum movie, because they play the same character in that movie. But it’s different actors, different directors, and a different time in the storyline. They’re different… This will be like the further adventures of Cliff Booth, is my understanding of it. The only other important information that I’ve learned, that I think is confirmed, is that the movie takes place in 1977, which is roughly eight years after the events of Once Upon a Time in Hollywood. So a different time in Cliff Booth’s life.”

The original film caused controversy with a scene that involved Cliff Booth’s (Pitt) interaction with Bruce Lee (played by Mike Moh). Shannon Lee, Bruce’s daughter, who runs the official Bruce Lee businesses and foundation, reportedly lodged a complaint with the Chinese film authorities demanding two scenes in which her late father is portrayed in a confrontation with Pitt’s stuntman character be excised, because they made the iconic Kung Fu star look arrogant. Her demands were supposedly the reason the movie was pulled from Chinese theaters one week before its release date (via LA Times).

With that said, we can only hope Mike Moh reprises his role as Bruce so the two can go for another round. After all, it’s just a movie, right?

The Continuing Adventures of Cliff Booth is currently in production.

We’ll keep you updated as we hear more. Until then, here’s a behind-the-scenes look at Brad Pitt in the film (via Just Jarod), followed by the Trailer to the original:

The post The stuntman who destroyed Bruce Lee is back! First look at Brad Pitt in Fincher’s ‘Once Upon a Time in Hollywood’ sequel first appeared on cityonfire.com.

“The Shadow’s Edge” Theatrical Poster

Legendary action superstar Jackie Chan has re-teamed with writer/director Larry Yang (Ride On) for The Shadow’s Edge (aka Catching the Wind and Chasing the Shadow).

The anticipated film also reunites Jackie with his Island on Fire and The Myth co-star, Tony Leung Ka-fai (League of Gods).

In The Shadow’s Edge, Jackie Chan stars as a retired surveillance expert from the Macau Police Service, who is rehired by the Police Force to collaborate with a team of elite young detectives to help capture a group of cunning thieves. In a tense confrontation between traditional tracking techniques and state-of-the-art technology, the police and criminals engage in a battle of wits, setting the stage for a cat-and-mouse showdown between good and evil (via Deadline).

Other co-stars include Wen Junhui (My Mother, The Legend Is Born: Ip Man), Zhang Zifeng (Aftershock, High Forces), Ci Sha (Raging Havoc, Creation of the Gods I: Kingdom of Storms), Broňo Bajtala (100 Yards) and Lee Huang (Kung Fu Yoga).

Golden Network Asia has sold rights to the film to SPI International for Eastern Europe, ATV for Turkey, Great Movies for Latin America, Shanghai Pictures for Malaysia, Prima Cinema for Indonesia, Shaw Renters for Singapore, Eagle International for Taiwan, Abnormal Studios for Cambodia & Myanmar and Izagur Media for Mongolia. Negotiations are also underway for CIS, Ukraine, Benelux and other territories (via Deadline).

The Shadow’s Edge will be released domestically on August 16, 2025. A U.S. release date is still pending. Until then, watch the Newest Teaser below, followed by a recent Trailer:

The post Jackie Chan rounds up the team in the New Teaser for ‘The Shadow’s Edge’ also starring Tony Leung first appeared on cityonfire.com.

“By 6am” Theatrical Poster

Rina Takeda (High Kick Girl!, Attack on Titan: Part 1, Re:Born), cult martial arts actress known for her real-life karate skills, is back with By 6am, an upcoming actioner from director Munetoshi Mukai (Color of Songs).

In the film, Takeda plays a family woman whose prior experience as a Special Assault Team member comes in handy when she’s called back into action to investigate a criminal organization.

By 6am also stars Rin Marumoto (GARO: Versus Road), Taro Suruga (One-Percent Warrior), Masato Hagiwara, Chie Tsuji (Tamatsuki no Yume), Kinari Hirano (Rurouni Kenshin: Final Chapter Part II – The Beginning), Masaya Kato (Shinjuku Incident), Ryuto (Boy’s Abyss) and Naomasa Musaka (Tetsuo: The Iron Man).

By 6am releases in Japan on October 3, 2025. A U.S. release has yet to be announced. For now, you can check out its Trailer below:

The post Set your alarm! Watch the Trailer for ‘By 6am’ starring Rina Takeda of ‘High Kick Girl’ and ‘Karate Girl’ first appeared on cityonfire.com.

On October 7, 2025, Arrow is releasing the 4K Ultra HD + Blu-ray for 1997’s Spawn. Based on Todd McFarlane’s groundbreaking comic, Spawn is a visually explosive cult classic that blends horror, action, and gothic fantasy, available for the first time in a fiery new 4K restoration that breathes new life into Hell’s most iconic warrior.

From the producers of Blade and The Crow comes Spawn, a dark, action-packed supernatural thriller that redefined the comic book movie with cutting-edge visual effects and a haunting origin story of vengeance, damnation, and redemption.

Al Simmons (Michael Jai White) is a top-tier Black Ops agent, ruthlessly efficient and fiercely loyal-until he’s doublecrossed and executed by his commanding officer, Jason Wynn (Martin Sheen). But Simmons is resurrected by the devil Malebolgia and becomes Spawn, a demonic antihero with terrifying powers. Caught between Earth and the Underworld, Spawn is determined to exact bloody revenge on Wynn, and must choose to serve his new infernal masters or fight for the salvation of his immortal soul.

4K ULTRA HD LIMITED EDITION CONTENTS

• 4K restorations of both the Director’s Cut and Theatrical Cut of the film from the original camera negatives by Arrow Films
• Reversible sleeve featuring two original artwork options
• Illustrated collector’s booklet featuring new writing on the film by John Torrani
• Double-sided foldout poster featuring two original artwork options

DISC 1 – DIRECTOR’S CUT

• 4K (2160p) UHD Blu-ray presentation in Dolby Vision (HDR10 compatible)
• Original DTS-HD MA 5.1 surround audio and lossless stereo audio options
• Optional English subtitles for the deaf and hard of hearing
• Brand new audio commentary with comic book expert and podcast host Dave Baxter
• Audio commentary with Todd McFarlane, Mark A.Z. Dippé, Clint Goldman, and Steve Williams (1998)
• Hell’s Perfect Son, a brand new interview with actor Michael Jai White
• Spawn Support, a brand new interview with actors Melinda Clarke and D.B. Sweeney
• The Devil’s in the Details, a brand new interview with animatronic creature and special makeup effects artists Howard Berger and Greg Nicotero
• The Devil’s Music, a brand new interview with music supervisor Happy Walters
• Order Out of Chaos, a brand new interview with editor Michael Knue
• Todd McFarlane: Chapter & Verse, an archival featurette from 1998 in which Spawn creator Todd McFarlane reflects on how the film adaptation stacks up against his original comic book vision
• The Making of Spawn, archival behind-the-scenes featurette
• Preview: Todd McFarlane’s Spawn – The Animated Movie
• Theatrical trailer
• Scene-to-storyboard comparisons
• Original Todd McFarlane sketches
• Spawn concept and sketch gallery

DISC 2 – THEATRICAL CUT

• 4K (2160p) UHD Blu-ray presentation in Dolby Vision (HDR10 compatible)
• Original DTS-HD MA 5.1 surround audio and lossless stereo audio options
• Optional English subtitles for the deaf and hard of hearing

This title will be available at The Goodie Emporium, a U.S.-based online store that currently has many Import Shaw Brothers/Golden Harvest/martial arts DVD/Blu-ray movies in-stock – with New titles being added regularly!

Watch the Trailer below:

The post Spawn of the dead! Todd McFarlane’s ‘Spawn’ starring Michael Jai White arriving on 4K Ultra HD + Blu-ray first appeared on cityonfire.com.

The Problem with “Prestige-First” Programming

Prestige functions as both a shortcut and a safety net in the decision-making process. Film selectors, under pressure to deliver acclaimed lineups or justify funding decisions, often rely on a filmmaker’s résumé or festival pedigree rather than the content itself. A director who has previously screened at Cannes or Berlin enjoys an outsized advantage when applying for the next opportunity, regardless of the merits of their current project.

This bias isn’t always malicious; it is deeply embedded in how reputations are built and maintained. A known name is seen as less risky. Their work is assumed to be “festival-worthy” or “culturally important” without the same level of scrutiny applied to unknown creators. This creates a cycle in which already-recognized filmmakers continue to be elevated, while newer voices struggle for visibility.

Case Studies: When Prestige Wins, Innovation Waits

Many major festivals and labs feature the same names in rotation. A comparative analysis of participants in high-profile European labs such as TorinoFilmLab or Jerusalem Film Lab reveals that several directors are recurring figures, some with as many as three or four projects developed through different institutional programs.

Meanwhile, highly innovative films often get lost in the shuffle. In one notable example, a debut feature with a radically experimental structure was passed over by three major festivals, only to be praised by critics at a smaller, less prestigious event. When asked about the earlier rejections, one programmer admitted the film “didn’t have the backing or context we look for.” This “context” often means a known producer, a film school credential, or previous awards.

The Structural Consequences

This emphasis on prestige leads to systemic consequences. First, it limits diversity not only in terms of identity, but in terms of aesthetic and narrative experimentation. New voices, especially from underrepresented regions or working-class backgrounds, often lack access to the cultural capital needed to build prestige. If a director hasn’t attended a top festival, received prior institutional support, or built relationships with industry mentors, their work is frequently dismissed or overlooked.

Second, it narrows the cultural discourse. By platforming the same types of stories from the same social and geographic circles, festivals, and funds risk becoming repetitive and predictable. Instead of being launchpads for discovery, they may serve as showcases for polished but safe cinema.

The Psychology of Selection: Safe Choices Over Bold Risks

Festival programmers and fund selectors are not immune to psychological biases. The “halo effect” means that someone previously recognized is more likely to be evaluated positively in the future. Groupthink can also play a role, particularly in selection committees where consensus tends to favor inoffensive or pre-approved narratives.

Innovation often involves risk, and risk is hard to justify when reputations, partnerships, and financial outcomes are at stake. For some institutions, selecting an unknown filmmaker who delivers a groundbreaking but divisive film is less attractive than supporting a known name with a moderately compelling script.

A Closed Circuit of Influence

 Beyond formal structures, the film industry is shaped by tacit agreements and long-standing personal relationships that often operate behind the scenes. It’s not uncommon for producers, festival programmers, and jury members to share overlapping interests—professional, financial, or social. These informal alliances can significantly influence which projects receive exposure and which are quietly dismissed.

One platform actively investigating these patterns is Film Industry Watch’s reporting on toxic relationships and unspoken industry deals. Dedicated to uncovering the ethical blind spots of global cinema, the site explores how favoritism, conflicts of interest, and opaque decision-making often shape funding outcomes and festival selections. With a focus on accountability, the platform compiles whistleblower insights, analyzes festival politics, and brings visibility to the structural barriers that keep new and diverse voices from being heard.

The Impact on Filmmakers

For emerging filmmakers, this dynamic can be demoralizing. It’s not just a matter of artistic rejection; it’s a systemic barrier that suggests merit alone is not enough. Many report burnout, disillusionment, or feeling forced to abandon experimental approaches in favor of safer, more “fundable” scripts. Some abandon the field entirely, unable to break into a system that favors reputation over originality.

Even for mid-career filmmakers, the lesson becomes clear: cultivate connections, follow institutional paths, and tailor creative choices to what is known to “work.” This can result in a subtle form of creative compromise that ultimately dulls innovation across the industry.

Possible Solutions: Rebalancing the Scales

While it’s unrealistic to eliminate all prestige-based evaluation, there are measures that institutions can adopt to ensure innovation isn’t buried under reputation. These include:

• Anonymous selection processes, especially in early stages, should focus purely on the material.
• Rotating juries and programmers to avoid entrenched networks and groupthink.
• Quotas or dedicated slots for debut films or projects from non-traditional backgrounds.
• More transparency about selection criteria and decision-making structures.

Importantly, institutions must recognize that true innovation often comes from the margins, not from within existing hierarchies. Funding bold, untested ideas might be risky, but it’s also essential to the cultural evolution of cinema.

Conclusion

When prestige consistently trumps innovation, the film world stagnates. While festivals and funding bodies claim to seek originality, their practices often say otherwise. The challenge ahead is not simply to celebrate new voices when they break through, but to build structures that allow them to be heard in the first place. Until then, many of the most daring cinematic visions may remain unseen not because they aren’t good enough, but because they aren’t known enough.

The post How Prestige and Recognition Often Overshadow Innovation in Film Selection first appeared on cityonfire.com.

“Prisoner of War” Theatrical Poster

This September, the Prisoner of War (aka Death March) is coming home! The film is the latest actioner from martial arts sensation Scott Adkins (John Wick 4, Ip Man 4, Triple Threat).

Directed by and co-starring Louis Mandylor (The Debt Collector, The Doorman), Prisoner of War takes place during WWII and centers on a British officer (Adkins) who is captured and forced to fight in a Japanese internment camp.

Inspired by real World War II events, British RAF Wing Commander James Wright is shot down during the Battle of Bataan and captured by the Japanese. Thrown into a prisoner-of-war camp, he is forced into the ring to fight for survival in brutal hand-to-hand combat against skilled opponents. However, the soldiers get more than they bargained for when Wright’s years of training in Hong Kong prove him to be a formidable adversary.

The film also stars Peter Shinkoda (Mortal Kombat: Legacy), Gabbi Garcia (Unbreak My Heart), Michael Copon (The Scorpion King 2: Rise of a Warrior), Donald Cerrone (Lights Out), Gary Cairns (Day Labor), Shane Kosugi (9 Deaths of the Ninja), Atsuki Kashio (Black Swindler), Kansuke Yokoi (The Locked Room) and Sol Eugenio (1521: The Quest for Love and Freedom)

Although it hasn’t been confirmed, we suspect that Masanori Mimoto (Hydra, Baby Assassins), who also stars, may play a role in the film’s action choreography. Additionally, Stephen Renney, who has worked on stunts in films such as Monkey Man and Renfield, is also contributing to the film’s action department.

Well Go USA is releasing Prisoner of War on September 19, 2025. UK audiences can expect a September 22, 2025 Blu-ray release from Kaleidoscope Home Entertainment.

Watch Well Go USA’s Trailer below:

The post Watch Scott Adkins eat Japanese for dinner in Well Go USA’s New Trailer for Louis Mandylor’s ‘Prisoner of War’ first appeared on cityonfire.com.

“Affinity” Teaser Poster

We’ll soon see Chilean martial arts star Marko Zaror (John Wick 4, Redeemer, Kiltro) kick some sci-fi ass in Affinity, an upcoming actioner from director Brandon Slagle (Arena Wars, Breakout).

In the film, a PTSD-afflicted ex-SEAL rescues and falls for a woman only to lose her to mysterious kidnappers. He gathers an elite team to retrieve her but soon discovers the shocking truth: she’s been bio-engineered by a scientist grieving his wife.

Affinity also stars Louis Mandylor (Debt Collectors), Brooke Ence (Justice League), Jane Mirro (ON i Ona) and Brahim Chab (Customs Frontline). In addition to starring, Zaror also serves as action director and co-writer.

Affinity will be showcased year’s The Big Bad Film Fest on August 22-24, 2025. We expect a Trailer to hit soon. Until then, here’s a look at a classic action scene from Zaror’s Kiltro:

The post Marko Zaror to kick some sci-fi ass in ‘Affinity’ also starring Louis Mandylor, Brooke Ence and Brahim Chab first appeared on cityonfire.com.

Source: https://www.pexels.com/photo/people-at-theater-713149/

Wolverine Wore Tap Shoes

Hugh Jackman might be best known for slicing up villains with adamantium claws, but long before there were X-Men films, he charmed audiences with musicals on stage. He had groundwork on stage, especially with musicals like The Boy from Oz, that prepared him with something beyond sheer singing range. He honed his sense of playing to emotional cadence and of physically dominating scenes, traits that enrich his fight scenes rather than just making them explosive. That control and theatre-born instinct make even his wildest action scenes feel personal, not just polished.

Shakespeare Behind The Science Fiction

Patrick Stewart’s on-screen presence as Captain Picard or Professor X did not just happen overnight. It resulted from years of classical training with the Royal Shakespeare Company. When he gazes at a baddie or delivers a peaceful but powerful line, that stage training is emerging to the surface. Each movement, each pause, everything’s been refined by thousands of performances in front of live human beings. His calm authority isn’t accidental, and it doesn’t come from special effects; it’s earned.

Did The Rock Attend Theatre Classes?

Hard to fathom, but Dwayne Johnson never quite sought blockbuster superstardom from the beginning. During college, he began studying theatre to build up confidence. The early training he got in timing, movement, and appeal to audiences still reappears in his performances to this day, in scenes where he swings himself off of tall skyscrapers, for one. Performing live helped him develop a sense of timing, presence, and audience connection that still shapes the way he delivers high-intensity roles today.

Why It Matters

When actors start on stage, they absorb instincts that can’t always be taught on set. The play calls for concentration, endurance, and intimate interaction with spectators. There isn’t a “cut!” if things go wrong. That kind of training stays with them, and it affects how they perform under maximum stress, multimillion-dollar film roles.

It also helps to explain why there are action stars who can do scenes with a touch of humanity. They are not necessarily acting, but responding. They had to read audiences live, work with timing live, and carry an entire physique to every performance. You can’t fake that. That kind of preparation gives a scene life, even when the plot calls for chaos.

Where To Learn More

Should you be curious as to which stars of yours came from the stage, or are just curious as to how film and stage converge, broadway.com is a most surprising place to turn to. Though most are linked to ticket sales and coverage of shows, it carries actor profiles and career-building as well, helping fans to more easily note similarities between stage and screen.

The Surprising Edge

Next time you’re seeing a tense stand-off or sobby soliloquy as part of an action movie, remember this: that performance started years earlier under hot lamps and velvet curtains. The stage training did not just involve line work. Presence, patience, and room command were instructed, whether that room is stocked with bullets, smoke, or a sea of applause.

The post Action Stars Who Surprisingly Started in Theatre first appeared on cityonfire.com.

On October 20, 2025, Arrow is releasing the 4K Ultra HD for 2021’s The Sadness. Dragging extreme cinema screaming into the post-pandemic age, Rob Jabbaz’s controversial and incredibly gory The Sadness burst onto the genre scene at the tail-end of the COVID epidemic, winning the New Flesh Award for Best First Feature at the Fantasia International Film Festival.

When a deadly virus spontaneously mutates in Taiwan it suddenly gives rise to a fast-acting, mind-altering plague. The streets erupt into violence and depravity, as those infected are driven to enact the most sadistic and ghastly acts they can think of. Amidst the carnage, a young couple, Jim (Berant Zhu) and Kat (Regina Lei), is pushed to the limits of sanity as they try and reunite across town amidst the chaos. The age of civility and order is no more. There is only “The Sadness”.

Inspired in part by Garth Ennis’ brutal graphic novel Crossed, The Sadness is a vicious satire of the darkest depths of humanity and an apocalyptic powerhouse of an action-based horror film, packed with incredible practical special effects, guaranteed to make even the most hardened gore-hound squirm.

4K ULTRA HD LIMITED EDITION CONTENTS

• 4K (2160p) Ultra HD Blu-ray presentation in High Dynamic Range
• Original DTS-HD MA 5.1 surround audio
• Optional English subtitles
• Brand new audio commentary with writer/director Rob Jabbaz and cinematographer Bai Jie-Li
• Two archival audio commentaries with writer/director Rob Jabbaz, one with composers Tzechar and one with medical advisor Shu
• Five behind-the-scenes featurettes: The Director, The Business Man, The Special Effects, The Art Department and The Production
• Colour Grading Comparison with Colourist Paul Hanrahan
• Two short films directed by Rob Jabbaz: Fiendish Funnies (2013) and Clearwater (2020)
• North American premiere introduction and post-screening Q&A at the 2021 Fantasia International Film Festival
• Reversible sleeve featuring newly commissioned artwork by Johnny Ryan
• Illustrated collectors’ booklet featuring selections of Rob Jabbaz’s storyboards and gore guides, plus new writing on the film by Michelle Kisner and Josh Hurtado

This title will be available at The Goodie Emporium, a U.S.-based online store that currently has many Import Shaw Brothers/Golden Harvest/martial arts DVD/Blu-ray movies in-stock – with New titles being added regularly!

Watch the Trailer below:

The post Here’s something to cheer you up! Arrow is releasing a 4K Ultra HD for the zombie thriller ‘The Sadness’ first appeared on cityonfire.com.