हाँग काँग वॉरियर्स

"Walled In" is adapted from a comic book, and it shows at times with its larger-than-life characters, setting, and seemingly superhuman feats during battle scenes. The Walled City of Kowloon was a real place, running with little government intervention, which adds an aura of mystique and allows for creative liberties.

Stuck in development hell since the 2000s, the studios saw huge potential in this film and bet big on it. They assembled some of Hong Kong's finest crew and production team, even creating a replica of the Walled City for shooting.

The action sequences are fine but not groundbreaking. There are too many quick cuts intended to show the hectic and intense nature of the fights, but this detracts from clarity, unlike the more appreciable choreography seen in "Ip Man."

Louis Koo and Raymond Lam, both veterans of the trade, successfully helm the film. Koo brings an enigmatic and benevolent image, while Lam offers an effortless everyman appeal. The supporting cast does their part well, with Philip Ng being particularly lauded for his rare villainous turn as the nearly unbeatable big bad.

The film seems to suffer from catering to too many characters and their different motivations, resulting in a predictable storyline. However, for kung fu fanatics like myself who enjoy the action as much as the Hong Kong brand of drama that comes with it, this is a long overdue and very welcome dose of ass-kicking goodness. Hopefully, it starts a new wave in the years to come.

I expected great fight scenes, great backdrop, some over acting, and a bit of fun. I got this.

The beginning was a good setup for the film and drew me in immediately. The main actor was very good.

The first half was actually better than I expected. It was well paced and gave you a good understanding of the character and how he finally felt at home with a new family while also not losing out on some action scenes. Plus, the environment was wonderfully dystopian and looked just what I imagined Kowloon would have been like.

The second half, OH MY, was a whimsical, non-sensical, over-the-top, non-stop fighting fest. It certainly wasn't 'The Raid' standard but it was still a fun watch.

Overall, totally worth a watch.

Finally I can see silver lining in HK movie after all these ten years. This is what a signature movie of HK style should be like. I'm delighted to see a movie that is so "Hong Kong". Old plot is never outdated, it is about how to present in a modern way. The brotherhood of the gangsters were so touching. No MSGs, no grandstanding, no too much focus on the old movie stars - this is just what we, the audience, want.

The Kowloon Walled City is always a mysterious legend to me, I must give credits to the production team for building such a beautiful replica of the city. No matter you like the plot or not, I suggest everyone who like HK culture or miss the old HK to watch this in the theatre.

I went in to this with much hope after seeing the dark looking trailer with its ominous audio score.

It looked like it might be gritty and fast-paced much like The Raid, yet set in the legendary city of darkness that is Kowloon Walled City.

At first it seemed like I'd get what I was hoping for as the movie quickly introduces the main characters through a no-nonsense and brutal storyline that brings them together.

Then... It all just falls apart from there.

The Kowloon walled city set is amazing, yet overly bright and well lit for a place renowned for its darkness.

The fight scenes are well executed but poorly shot where you can rarely see moves clearly.

And, after this - it just gets absurd.

There are characters upon characters introduced, storyline after storyline, and every time I thought it was approaching a final fight, the film would introduce ANOTHER way to extend the story and ANOTHER reason there needed to be another fight.

But that's not the worst part, because only 30mins into the film it just starts to become absurd!

What could have been a straight-forward, no-holes barred, fast paced fight film with a simple story and an epic location, ends up being a long, overly complicated, fanciful, bore that has ridiculous moments and bizarre storyline additions that made me regret spending money to see it in the cinema.

This could have been an absolute classic had it been dark and simple, yet will quickly be forgotten as it's just not good, and utterly disappointing.

Twilight of the Warriors: Walled In is a colorful blazing fury of fisticuffs that spins the infamous Hong Kong landmark into an entertaining pop art mythology.

Director Soi Cheang, cinematographer Cheng Siu Keung, and production designer Kenneth Mak strike the perfect tone, crossing Hong Kong nostalgia with a wuxia comic book aesthetic.

The story chronicles the rise of Chan Lok-Kwan, an illegal immigrant and bare-knuckle boxer surviving on the streets of 1980's Hong Kong. Getting in trouble with local gangster Mr. Big, Chan finds refuge in the Kowloon Walled City, a lawless territory outside of British Hong Kong, and is taken in by gang boss Tornado and his underlings.

The British Government announcing the demolishing of the Walled City ignites a gangland war, settling personal vendettas and seizing the Walled City.

Kenji Tanigaki's inventive fight choreography is fluid and powerful, slightly exaggerating the character's comic book fighting abilities just right.

The Kowloon Walled City set is exquisitely detailed, keeping with Soi Cheang's trademark of arranging garbage into intricately beautiful backdrops.

The set design and fight choreography are well integrated and tell the story visually, with the characters scurrying through the cement crevices, alleyways, and scaffolding.

Raymond Lam, largely known as a TV actor, shines in an iconic movie role and establishes himself as a solid action lead. As Tornado, Louis Koo gives solid support, building a memorable character separate from the star persona created from ubiquitous film appearances. Richie Jen's mob boss is the weakest link, lacking grit and veering into dress-up pantomime territory. Phillip Ng steals the show as the crazy laughing villain King.

The one flaw is a gaping plot hole, an unexplained story contrivance of "how did that character know that?" The error wasn't obvious to me until after the film ended, but it hangs there like a jigsaw puzzle missing its last piece.

Walled In is no masterpiece, but a well-executed crowd-pleaser that has entered the zeitgeist at the exact moment for the audience.

In its quieter moments, Soi Cheang directs the audience's eyes toward the lives of the Walled City residents. Even though this is an exaggerated comic book film, it nostalgically refers to real history where people lived and struggled in these harsh conditions. This is the film's heart; it works in a "look how far we've come" way.

Locally, the film's been the talk of the town, and everybody I know has seen it, some even more than once. It achieves a classic status that Hong Kong people will remember fondly, like a Bruce Lee film.