REVIEW: Kung Fu Soccer (2026 Film) - Directed by Stephen Chow

Review by Jon Donnis

Kung Fu Soccer difficult to judge without thinking about Shaolin Soccer. Written and directed by Stephen Chow, this spiritual successor takes the familiar idea of combining football with martial arts and gives it a new identity by focusing on the fictional Emei women's football team.

The setup works well. Emei are a grassroots team of ordinary working women, struggling with limited funding, poor facilities, injuries and prejudice against women playing football. Led by veteran captain Shuangshuang (Zhang Xiaofei), they enter the tournament as huge underdogs and gradually discover that teamwork is more important than relying on one player to carry them.

The football is one of the film's biggest strengths. This is obviously not realistic football, but that is hardly the point. Once the matches begin, the combination of football and kung fu produces some wonderfully ridiculous sequences, with martial arts techniques, exaggerated abilities and increasingly absurd action. The final match is particularly entertaining and delivers the sort of escalating madness that fans of Shaolin Soccer will be hoping for.

The comedy also has a very recognisable Stephen Chow feel. There are exaggerated characters, slapstick situations and plenty of physical humour, while the cartoonish visual effects suit the deliberately over-the-top style. The actresses playing the Emei team are also convincing during the football and martial arts sequences, helping the action feel more believable within the film's deliberately absurd world.

I particularly like the decision to centre the story around a women's team. It gives Kung Fu Soccer its own identity rather than simply repeating Shaolin Soccer with a different cast. The international tournament also gives the opposing teams their own personalities, rather than making them generic villains.

Unfortunately, the film never quite reaches the level of Shaolin Soccer. That film found a stronger balance between comedy, heart and memorable characters, while Kung Fu Soccer sometimes feels more like an attempt to recreate that formula.

The emotional story is where it falls short. Shuangshuang's relationships with Yu Long (Dilraba Dilmurat) and Xu Feng (Lay Zhang) are interesting, and her realisation that she has put too much pressure on her teammates gives her character some development. However, there are too many players and supporting characters competing for attention, meaning several never receive enough development to make their personal stories particularly meaningful.

The comedy is also inconsistent. Some jokes are genuinely funny, but others feel familiar, and the constant slapstick can become tiring. The CGI does not always help either, with some larger sequences looking noticeably cheap and unfinished.

The football can be equally frustrating. Even allowing for the deliberately ridiculous approach, some of the action makes little sense from a footballing perspective, while the repeated structure of the tournament means some matches begin to feel similar.

Despite those problems, I enjoyed Kung Fu Soccer. At around 100 minutes it perhaps feels slightly longer than necessary, but there is enough comedy, action and inventive football to keep it entertaining.

It is not going to replace Shaolin Soccer, and it lacks some of the spark that made Stephen Chow's older films so memorable. However, as a silly, energetic sports comedy with plenty of kung fu and outrageous football, it delivers enough fun to justify its existence.

This is not really a film for serious football fans, nor is it likely to appeal to anyone unfamiliar with Stephen Chow's particular style of Chinese comedy. For fans of Shaolin Soccer, though, there is plenty here to enjoy.

I score Kung Fu Soccer 8 out of 10.

In selected cinemas now

REVIEW: Mortal Kombat II (2026 Film) - Starring Karl Urban

Review by Jon Donnis

Picking up the threads from the 2021 instalment, this sequel leans fully into the tournament chaos, throwing Earthrealm’s champions into a darker, louder, and more unashamedly video game version of interdimensional war. At its centre is Johnny Cage, a washed-up martial arts actor pulled into Raiden’s desperate defence of Earthrealm, and Karl Urban gives the role a wry, self-aware edge that helps hold the film together even when everything else is flying fists and fractured alliances.

The strongest part of the film is its action. The combat sequences land with impact, staged with a clarity and aggression that suits the source material. There is a rough, physical energy to the fights that feels intentionally old school, closer in spirit to 1990s martial arts cinema than modern glossy fantasy action. That choice works in its favour. The film never tries to sand down the brutality, and fans of the games will find plenty of familiar moves, characters, and finishing blows brought to life with a willingness to go as far as the material demands.

There is also a clear sense of fun running through the whole thing. Mortal Kombat II never takes itself too seriously, and that balance of gore and humour gives it a strange but effective rhythm. Johnny Cage’s presence adds levity without undermining the stakes, while the wider ensemble cast keeps the energy moving even when the story threatens to become overloaded. For fans of the franchise, the sheer density of characters and references will feel like a reward in itself, with more fighters and deeper cuts from the lore than any previous film in the series.

Visually and tonally, it embraces its identity fully. It is loud, bloody, and deliberately a bit rough around the edges, like a studio production that has decided polish is less important than personality. That aesthetic choice will not appeal to everyone, but it gives the film a distinctive texture that sets it apart from more restrained modern action releases.

That said, it is not without problems. The pacing is uneven, with stretches that feel slightly stretched out before snapping back into intensity. At around an hour and forty five minutes, it still manages to feel longer in places, particularly when the narrative shifts between multiple factions and betrayals. The story itself is dense, occasionally overstuffed, and can lose momentum as it juggles too many character arcs at once.

It is also very clearly a film that will divide opinion depending on familiarity with the source material. Fans of the games and the genre are likely to embrace its excess, while mainstream critics who are less invested in the franchise may find it noisy and chaotic. It does not make much effort to soften its edges or explain itself to newcomers, and that will inevitably narrow its appeal. (Basically ignore the mainstream critics, for what do they know).

Even so, the overall experience lands firmly on the positive side. Mortal Kombat II understands its identity, embraces its brutality, and commits fully to being a spectacle-driven martial arts fantasy. It is gory, it is playful, and it looks and feels like a throwback in the best possible way. Despite its uneven pacing, it delivers enough energy and entertainment to justify its existence.

On balance, it is a strong sequel that knows exactly what its audience wants and delivers it with conviction. A solid 8.5 out of 10.

Out In Cinemas Now!

REVIEW: Prisoner of War (2025 film) - Starring Scott Adkins

Review by Jon Donnis

Louis Mandylor's 2025 war thriller Prisoner of War is the sort of film that reminds you why Scott Adkins has become such a reliable action star. Set during the Battle of Bataan, it follows RAF Wing Commander James Wright, played by Adkins, as he is captured and forced into a brutal prisoner-of-war camp. On paper the story is familiar, but the execution, particularly the fight choreography and Adkins' performance, makes it stand out.

Adkins is the heart of the film. His martial arts skills are on full display, but what impresses is how controlled and grounded he is in every fight. There are no over-the-top stunts or unnecessary CGI flourishes. Each sequence has weight and consequence. The hand-to-hand combat is tense and visceral, recalling the era of Van Damme and Chuck Norris when heroes relied on physicality and presence. Adkins knows his strengths and leans into them, making him a believable and compelling lead.

The supporting cast adds depth to the story. Peter Shinkoda is a suitably menacing Lt. Col. Ito, while Donald Cerrone, Michael Copon, and Michael Rene Walton bring credibility and heart to the fellow prisoners. The bond between the characters helps raise the stakes when the story reaches its most intense moments. Theresa, the local nurse, provides a human touch without feeling forced, giving the prisoners an ally and adding emotional texture to the narrative.

Where the film struggles is in pacing. At nearly two hours, it is longer than necessary for a straight-up action story. The momentum dips whenever Adkins is off screen, and some quieter scenes could have been trimmed to maintain tension. The story itself follows familiar beats, so the strength of the film rests almost entirely on the performances and the fight sequences.

Still, Prisoner of War delivers on what fans expect. It is a full-bodied throwback to physical action films where heroes really got their hands dirty. It mixes brutal combat with enough emotional grounding to make the stakes feel real. The historical backdrop is respected, and the film conveys the resilience and courage of the men who endured captivity without ever feeling exploitative.

Scott Adkins continues to build an impressive filmography, and Prisoner of War is another strong entry. It might not reinvent the genre, but it achieves what it sets out to do: provide exciting, physical action while telling a story about survival and courage.

I give Prisoner of War a solid 7.5 out of 10. It is entertaining, brutal, and heartfelt, and it reminds viewers why Adkins remains one of the most consistent action stars working today.

Out Now on Digital

https://apple.co/42vI06X

PREVIEW: Stuntman (2025) A Tribute to the Unsung Heroes of Hong Kong Action Cinema

Preview By Jon Donnis

Stuntman brings back the spirit of classic Hong Kong action cinema, telling a story that celebrates the often-overlooked lives of stunt professionals.

The film follows a former action choreographer, once a major figure in the industry, now struggling to stay relevant. As he attempts one final, high-stakes comeback, he must also confront his fractured relationship with his estranged daughter. Time is running out, and the personal stakes are just as high as the professional ones.

The cast features Terrance Lau (Twilight of the Warriors: Walled In, Anita) and Philip Ng (Twilight of the Warriors: Walled In, Birth of the Dragon), alongside stunt legend Stephen Tung Wai. Known for Hard Boiled and The Battle at Lake Changjin, Tung Wai has won Best Action Choreography at the Hong Kong Film Awards seven times and returns to acting after a seven-year break.

Also starring are Cecilia Choi (A Light Never Goes Out, Beyond the Dream) and Rachel Leung (The Sparring Partner, In Broad Daylight).

Stuntman pays tribute to the 1980s golden era of Hong Kong action films, with fight scenes set in familiar, fast-paced locations like footbridges and shopping centres.

Directed by real-life stuntmen Albert and Herbert Leung, and produced by the team behind Twilight of the Warriors: Walled In, this is a deeply personal film. Drawing from their own careers, the filmmakers deliver a blend of emotional drama and expertly crafted action.

Presented by Trinity CineAsia, Stuntman will be available on digital platforms from 12 May.