by Anthony O'Connor

Year:  1992

Director:  John Woo

Release:  Out Now

Distributor: Imprint

Worth: Discs: 3, The Film: 4.5/5, The Extras: 4/5, Overall: 8.5/10
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth

Cast:
Chow Yun-fat, Tony Leung Chiu-wai, Teresa Mo, Philip Chan, Philip Kwok, Anthony Wong

Intro:
… an absolute, unmissable classic.

The Film:

We’ve talked about the influence and legacy of John Woo before, but it bears repeating: the dude changed the action game. Thanks to films like A Better Tomorrow (1986), The Killer (1989) and Bullet in the Head (1990), the Hong Kong filmmaker formalised a new style of kinetic, bullet ballet action that continues to influence cinema to this day. However, it wasn’t until 1992’s Hard Boiled that Woo truly showed the extent of what he could do and launched one of the most lauded action movies of all time on a world that was scarcely prepared for it.

But friends, 1992 was a long-arse time ago (at least that’s what our calendars claim), so how does it fare in 2026, some 34 years later? Does this action classic maintain its lofty ranking or has time been as cruel to it as it has been to the rest of us?

Thanks to a brand-spanking new 4K edition, we can answer that question right now. Spoiler alert: this thing still slaps.

Hard Boiled is the tale of intense copper “Tequila” Yuen Ho-yan (Chow Yun-fat), who goes a bit berko after the death of his partner, Benny Mak (Bowie Lam), during a shootout. Not only does Tequila straight up murder the gangster who killed Benny, he makes it his personal mission to take down the whole damn gun-smuggling organisation responsible, one crook at a time.

Elsewhere, undercover cop Alan (Tony Leung Chiu-wai) is getting in deeper and deeper with the very mongrels Tequila wants to shitmix, setting up an unlikely and uneasy alliance as the pair struggle to suppress their mutual animosity and remember what’s important: shooting, like, hundreds of blokes in the face with their guns.

The plot of Hard Boiled functions less as a narrative and more as an excuse to set up a series of spectacular action set pieces. Hell, the last 45 minutes of the movie takes place in a hospital and basically ratchets up the stakes and tension to an outrageous degree, leading to a final explosion of ballistic insanity that truly needs to be seen to be believed. This is action filmmaking the likes of which we’ll never see again, before ubiquitous CGI and digital trickery, when all filmmakers had to rely on were stuntmen mad enough to do the gags, wire work and an absolute staggering surplus of chutzpah. This is wild, heady stuff and a real credit to the boundless creativity of everyone involved in the production.

Back in the ‘90s, the only way to see this film was either on horribly degraded VHS copies attained by dodgy means or via the many late night sessions at shonky inner city cinemas that very often smelled like beer and/or wee. In 2026, things have improved mightily, with 4K versions from both Imprint and Arrow available. Personal taste varies on which is superior, but the Imprint version features less colour correction and is likely closer to Woo’s original, gritty vision.

Regardless, any right-thinking cinephile who is even a casual action genre enjoyer needs to own a copy of this absolute barnstormer from John Woo.

The Extras:

A bullet riddled maternity ward’s worth of extra babies here, legacy and new ones alike. There are two new audio commentaries: one with John Woo and film journalist Drew Taylor, and another with film historian Frank Djeng. There’s also an older audio commentary with John Woo, producer Terence Chang, filmmaker Roger Avary and critic Dave Kehr.

In terms of featurettes, there’s Violent Night – a brand new interview with John Woo, Boiling Over – interview with actor Anthony Wong, No Time For Failure – interview with producer Terence Chang, Hard to Resist – interview with screenwriter Gordon Chan, Boiled to Perfection – interview with screenwriter Chung Hang Ku, Body Count Blues – interview with composer Michael Gibbs and Chewing the Fat – interview with film historian Lin Feng.

There are multiple legacy features including more interviews with Woo and various older featurettes, there’s the 131-minute Taiwanese cut of the movie and a bunch of deleted and extended scenes.

Best in show is, once again, Hong Kong Confidential – an interview with author Grady Hendrix as he gushes passionately about a film that he clearly loves. Plenty of interesting revelations here, including the fact that Hard Boiled was largely written on the fly, had its screenwriter die during the shoot and owes its best sequence in the hospital to the fact that Woo didn’t want his crew getting bored and decided to shoot the whole damn thing in one take to keep everyone sparky!

This is a fascinating treasure trove of extras for superfans of this unforgettable flick contained in a beautiful steelbook case which itself is in a hardbox bundled with a 60-page hardback booklet.

The Verdict:

Hard Boiled was John Woo’s final Hong Kong action film (he headed to the States the next year to direct Broken Arrow) and the final time he worked on a feature with Chow Yun-fat. It’s both a tearful farewell and victory lap by a director who changed the face of action cinema and then moved onto other stuff.

Presented here in a gorgeous 4K print with plenty of extras in a glorious hardbox, it’s the perfect way to have one of the best action flicks of all time sitting on your shelf looking at you coquettishly. Believe the hype, Hard Boiled remains an absolute, unmissable classic.

8.5Good
Classic
8.5
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by Flynn Shan Benson

Year:  2025

Director:  Ildikó Enyedi

Rated:  M

Release:  2 July 2026

Distributor: Hi Gloss

Running time: 147 minutes

Worth: $18.00
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth

Cast:
Tony Leung Chiu-wai, Luna Wedler, Enzo Brumm, Marlene Burow, Léa Seydoux

Intro:
… radical in its attention to its characters’ lives: they are treated as both historically particular and singular, in the way that each rose is beautiful and unique.

Early in Ildikó Enyedi’s new film Silent Friend, a neurology professor (Tony Leung, in a rare English language performance) points to a colourful model of the human brain and asks his class to tell him what it is. A brain, they answer. No, he says with a wry smile, it’s painted plastic. This Magrittean moment sets up a story that is interested both in science and the limits of its formulations, in our models of the world and the need to think beyond them.

The film starts in early 2020, when Tony Leung’s professor begins a stint at the University of Marburg, despite speaking little German and being unable to stomach the local pork knuckle. After Covid renders the campus almost deserted, the expat academic has video conversations with a French professor (Léa Seydoux, in an amiable, incidental role) and experiments in gauging the consciousness of the verdant natural world around him.

Alongside this story, Enyedi shows us the same campus in the black-and-white early 20th century, when a fiercely intelligent woman (a dazzling Luna Wedler) is trying to become a science student. The imperious professors of the examining board consider her an affront, and try to embarrass her, first intellectually, making her quote Linnaeus verbatim, and then sexually, using floral reproduction to make crude double entendres. With bitter humour, Enyedi shows us how biology is both destiny and otherwise.

In the final concurrent section, we see the same campus after the social revolution and flower children of the ‘60s, this time in rich 16mm. A boy from a farming family (Enzo Brumm) and an urban bourgeois girl (Marlene Burow) both find rebellion in the freedom of university life. Though he is less open to the new sexual freedoms of this world, and she more dismissive of his interest in classical writers, their dynamic eschews the clichéd to find something more tender and unexpected.

It is inevitable that, as these different sections play out, points of overlap are found — most notably in the majestic Gingko tree. But the film is not burdened with any heavy thematic conceit — no laboured analogies are made between the disparate romantic pairings. The film’s harmony is found in nature, which is always foregrounded — literally, in the many shots framed by foliage, but also in moments when a character photographs flowers, or watches an owl in the trees.

While Enyedi offers some visual experimentation, tunnelling into the root network of the vast Gingko, exploding into abstract colours during a psychedelic sequence, her film is more radical in its attention to its characters’ lives: they are treated as both historically particular and singular, in the way that each rose is beautiful and unique.

By the end of Silent Friend, none of the scenarios come to any definitive conclusion. To Enyedi’s credit, this feels less like a failure to resolve the film’s dramatic threads than a natural consequence of a work that pays such careful, reverential attention to the different forms of life around us. In the sustained shot of the Gingko tree that closes the film, we come to feel that, regardless of the particularities of plot, of the foibles and cruelties that drive human relationships, things in nature will merely grow — as long, of course, as we have not desecrated our planet beyond repair.

9Radical
score
9
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by Anthony O'Connor

Year:  2022

Director:  David Cronenberg

Rated:  MA

Release:  19 June 2026

Distributor: MUBI

Running time: 108 minutes

Worth: $14.00
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth

Cast:
Viggo Mortensen, Léa Seydoux, Scott Speedman, Don McKellar, Kristen Stewart, Nadia Litz

Intro:
… a series of fascinating, albeit disturbing, moments in a languid encapsulation of Cronenberg’s obsessions.

There was a time when the name David Cronenberg was synonymous with brainy, transgressive body horror. The Canadian director excelled at exploring various exciting themes via the medium of distorted flesh and transformed bodies. Films like Shivers (1975), Rabid (1977), The Brood (1979), Scanners (1981) Videodrome (1983 and arguably his masterpiece), The Fly (1985) and eXistenZ (1999). Since then, however, ol’ mate Dave skewed a little more traditional in terms of narrative and themes. That’s not to say his later stuff was bad. Hell, A History of Violence (2005) and Eastern Promises (2007) are both superb, however it’s hard not to miss his strikingly original genre yarns.

Well, now Cronenberg has returned to the pulsing, anus-like biomechanical well with Crimes of the Future and the resulting film is as bizarre as one could hope, although not always as satisfying.

Crimes of the Future (which shares a title with an earlier work from the director, but nothing else) is a strange little tale set in an unspecified point in the future. Pain and infectious disease no longer exist, which allows people like Caprice (Léa Seydoux) to perform live operations on people like Saul Tenser (Viggo Mortensen) and call it performance art. This sort of organ removal theatre is all the rage in Crimes, giving Saul near rockstar status. Elsewhere, a child is murdered by its mother, because she believes the little tacker is no longer human. Father of the kid, Lang Dotrice (Scott Speedman), approaches Saul with a shocking proposition and reveals a potential evolution of humanity itself.

If that brief plot summary sounds a little disjointed and lacking in momentum then, yes, you have read it correctly. Unlike, say, Videodrome, Crimes of the Future doesn’t so much have an antagonist and stakes in the traditional sense, instead showcasing a series of fascinating, albeit disturbing, moments in a languid encapsulation of Cronenberg’s obsessions. Mysterious organs, rapidly evolving bodies, the intersection of flesh and technology and the new sex are all front and centre, in a film that’s icy and unapproachable even by the director’s already pretty niche standards. Put simply, this is Cronenberg at his most Cronenbergian.

In practical terms, this results in a film that’s more interesting than it is entertaining. Like an art installation that you respect rather than respond to on any emotional level. Still and all, it’s a gorgeous flick, with striking visuals, all bolstered by superb performances from Mortensen, Seydoux, Kristen Stewart and Don McKellar. And even though it doesn’t match the heady genius of his earlier efforts, it’s nice to have a director like David Cronenberg still making films that seek to blow your mind in an increasingly homogenised and generic cinema landscape. Viva David Cronenberg, long live his New Flesh.

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