Twilight of the Warriors: Walled In (2024)
Director: Soi Cheang
Starring: Raymond Lam, Lewis Koo, Sammo Hung, Philip Ng
Primary genre: Action
In an era where action movies can be either a John Wick: Chapter 4 (2023) or poorly staged slops (Captain Marvel (2019), Snake Eyes (2021), The Flash (2023)), Twilight of the Warriors: Walled In goes ballistic, presenting a gazillion of extended melees within the confinements of Hong Kong’s Kowloon Walled City.
Although director Soi Cheang does not break new ground in this genre entry, he embraces the source material (a manhua) set inside in one of the world’s most infamous slams, delivering a mish-mash of extraordinary, Kung Fu Hustle (2004) inspired feats with the brutal precision of Gareth Evans’ The Raid (2011). In other words, if you want realism, skip the film altogether. Those who are willing to accept lengthy brawls, superb stuntwork, and all sorts of fighting styles, may enter. Supported by legendary action choreographer, Kenji Tanigaki (who did Rurouni Kenshin’s (2012-2021) sensational set pieces), Twilight of the Warriors holds the fort in its ballistic, non-stop skirmishes between heroes and villains with lighting-fast, complex moves that require multiple viewings to appreciate the level of effort being put on display here. In other words, this is neither your typical Van Damme flick nor a B-level Hong Kong production for sure.
“The reason you can sleep soundly isn’t the Walled City. It’s the people inside it”
A cinematic equivalent of a beat-em-up (think of Double Dragon (1987)) game coming to life, Twilight of the Warriors has a vibrant 80s-style cinematography, a multi-color palette, and a spectacular, highly detailed production design. Cheang showcases a plethora of sets full of authentic props and antique pieces that manage to recreate to the letter the Kowloon Walled City and thus elevate the movie from your standard mano-a-mano shenanigans. This unique vertical slam houses thousands of residents living in close, claustrophobic quarters who rarely, if ever, go out of this community to do anything. The city-within-the-city is a character itself, boasting meticulous detail in every shot and Siu-keung’s lens captures a sense of scope to a rather pretty easy-to-follow story.
Keeping the order in this concrete, power-cable- and pipe-infested haven is Cyclone (Lewis Koo) who along with his loyal group of enforcers opposes Sammo Hung’s (nice against typecasting) dirty tactics and territorial squabbles. In the middle of all of this, a refugee (an excellent Raymond Lam) becomes the catalyst for the relentless action, bringing genuine acting skills that are usually sidelined in favor of pure athletic and martial arts ability.
It is rare for Hong Kong’s action outputs to be taken seriously after the explosion of game changers such as Ong Bak (2003), Bourne Supremacy (2004), The Raid (2011), Rurouni Kenshin (2012), John Wick (2014), and Mad Max: Fury Road (2015). No matter how many flying pirouettes and poses they can boast, they were not capable of convincing an audience who desired dramatic stakes and a sense of grounded realism except some of Donnie Yen’s work with his MMA-focused interest. Yet, Twilight of the Warriors breaks this curse quite late in the game - assisted perhaps by Tanigaki’s expertise - demonstrating that when there is a will, there is a way. The movie offers an endless list of OTT brawls across environments of daily routine while winking at the audience.
Stoicism might be fine for individuals like Himura Kenshin and John Wick, but in the Walled City, the parade of comic-book-inspired characters is part of the fun and this is precisely what makes Twilight of the Warriors an action extravaganza. And having a capable cast comprising genre veterans and talented newcomers (Philip Ng as a henchman is a standout) relishing their 80s looks is an absolute blast. The final shot perfectly captures an exaggerated visual style and asks the audience to stay behind those walls too for the inevitable part 2 of this modern classic. Bring it on!
A blast from start to finish
+Sensational production design
+Non-stop, inventive choreography by Tanigaki
+Great (and capable) cast
+Fast paced
+Vibrant presentation
-Too much fighting for the uninitiated