warrior king movie review

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Warrior king, common sense media reviewers.

Animated saga of King Gesar has fantasy violence, language.

A Lot or a Little?

What you will—and won't—find in this movie.

You can overcome fear, have courage, and defeat ev

Chiro endures a world of demons and monsters, ulti

The main character is a young Chinese boy; all oth

Scenes of fantasy violence with characters fightin

A baby is shown naked (no body parts seen). Inferr

Language in English subtitles (translated from Man

Characters drink barley rice wine from cups.

Parents need to know that Warrior King is an animated fantasy film based on the Chinese legend of King Gesar. It has positive messages of courage in the midst of evil, but there's also lots of fantasy violence, and the fast-paced story may be difficult for some viewers to follow. The saga follows the heroic…

Positive Messages

You can overcome fear, have courage, and defeat evil when it's your destiny to be a hero. Acting with kindness and selflessness for the good of all people can bring great power and great rewards. Themes of perseverance, courage, hope, and self-control throughout. Also religious Buddhism themes like exorcism and reincarnation.

Positive Role Models

Chiro endures a world of demons and monsters, ultimately maturing into a selfless hero. He demonstrates courage, perseverance, hope, and kindness. Gogza Lhamo loves her son Chiro unconditionally; she's willing to do anything to save her child.

Diverse Representations

The main character is a young Chinese boy; all other characters are either Chinese people or demons/monsters. The film was produced in China by Chinese filmmakers; for U.S. release, most of the English-dubbed voices are supplied by White actors.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Scenes of fantasy violence with characters fighting demons and monsters; they're kicked, punched, stabbed, speared, eaten, and poisoned. Death and inferred death, blood, and gore. Multiple small open wounds and bruising seen. Mild peril and suspense. Human enslavement. Moderate animal cruelty and animal death. Pregnant mother screams with birth pains. One scene of a child's arm being slapped by a parent. Human sacrifice/implied death by suicide via visuals of a character jumping off a cliff.

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Sex, Romance & Nudity

A baby is shown naked (no body parts seen). Inferred baby peeing in an adult's face. Scene of a young child peeing his pants.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Language in English subtitles (translated from Mandarin for U.S. release) includes words like "damn," "dammit," "bastards," "hell," "blasted," "freak," "stupid," "morons," "idiot," "scum," "imbeciles," and "fool."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Warrior King is an animated fantasy film based on the Chinese legend of King Gesar. It has positive messages of courage in the midst of evil, but there's also lots of fantasy violence, and the fast-paced story may be difficult for some viewers to follow. The saga follows the heroic journey of Chori (voiced by Brandon Hunt) from divine birth to exile to king as he perseveres in a world filled with demons and monsters to save his people and fulfill his destiny. It's a pretty standard "hero's quest" tale, with mild suspense, peril and life lessons, along with religious Buddhism themes like exorcism and reincarnation. The fantasy violence can be intense at times, with bone-crunching sounds, blood, gore, death, and martial arts-style fighting. Language includes "damn" and "bastards," plus insults like "freak" and "morons." Characters drink barley rice wine. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

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What's the Story?

WARRIOR KING tells the story of Chori (voiced by Katie Leigh as a child and Brandon Hunt when he's older), who's destined for greatness. He's born of divine lineage, exiled by his people, and endures trials and challenges in a world full of evil demons and monsters. Ultimately, Chori matures into a hero who saves his people and fulfills his destiny to become a great king. The story is based on a Chinese legend inspired by the Tibetan epic poem of King Gesar. The voice cast also includes Richard Epcar as the High Priest.

Is It Any Good?

Fans of anime and the Chinese animation genre will appreciate the movie's stunning character visuals and creative CGI enhancements. But the fast-paced, choppy storytelling in Warrior King may be confusing for those not already familiar with the legend of King Gesar, his famous origin story of divine birth to exile to king, and Buddhism. There are positive messages about being brave, persevering through difficult times, and having hope to fulfill your destiny for greatness. But Chori's hero's journey is also predictable and long, the characters are often whiny and over dramatic, and the constant action and violence may be tiresome for parents and critical viewers alike.

Talk to Your Kids About ...

Families can talk about the action and fantasy violence in Warrior King . How does the intensity compare to other animated films that you've seen? How does cartoon violence compare to other types of movie violence?

How does Chori demonstrate courage and perseverance in Warrior King ? Do you think Chori's portrayal in this film makes him a good king? Why, or why not?

How does Warrior King compare to the original Chinese legend and Tibetan epic of King Gesar? Do you need to know the legend of King Gesar to appreciate or understand this film?

How does the animation in Warrior King compare to other animated films that you've seen? Do the visuals differ or stand out from other animated movies?

Movie Details

• In theaters : August 25, 2023
• On DVD or streaming : October 13, 2023
• Cast : Katie Leigh , Brandon Hunt , Marisa Blake
• Director : Lu Qi
• Studio : Cineverse
• Genre : Fantasy
• Topics : Magic and Fantasy , History
• Character Strengths : Courage , Perseverance , Self-control
• Run time : 114 minutes
• MPAA rating : PG-13
• MPAA explanation : violence and thematic elements
• Last updated : January 23, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Warrior King

Where to Watch

Katie Leigh (Young Chori) Brandon Hunt (Chori) Marisa Blake (Gogza Lhamo) Blake Talley (Trothung) Olivia Springer (Brugmo) Richard Epcar (High Priest) Ron Whittemore (Guru Padma) Ian Russell (Lord Zai) Jimmie Yamaguchi (Chien) Adam New (Young Gyatsa)

A young man grows up in exile in a world overrun by demons and monsters.

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• Anime , Movie Reviews

‘Warrior King’ Review – Not Your Typical Hero’s Journey

• By Andrew Fukui
• August 25, 2023
• No Comments

Based on the legendary Chinese myth of King Gesar,  Warrior King  undertakes the difficult task of adapting a 1000-year-old story. Modernizing the tale for a new age, the film’s creative team uses animation to establish a distinct visual style that sets this adaptation apart through its use of unique character and environmental designs. However, the atypical structure of the source material makes it difficult for audience members to connect with the characters beyond the surface level.

The most vital point of the film is its creative art design. It is refreshing to see how much thought was put into each individual character’s design. Each character has a distinct look and costume, visually setting them apart from one another. This is particularly noteworthy in the intricacies of the mythical demon figures which serve as some of the many examples of the art team’s commitment to accurately representing the designs of Chinese culture.

This unique visual aesthetic is further enhanced through its diverse color palette, mainly when featuring divine powers. The film uses the juxtaposition of bright colors against the darker aspect of human civilizations to establish a “larger than life” aesthetic whenever the power of the Gods is called upon. It is visually unique and sets the tone for the mythological nature of the source material.

Warrior King also features many action sequences, with the superpowered protagonist, Chori, facing off against formidable monsters of different abilities. The scenes often move too quickly, though, and characters fight faster than the viewer can react to, making the overall scenes feel artificial. The pacing of the action at times can be reminiscent of video game cut scenes where the action is well thought out, but it moves too quickly to be absorbed. This increased frame rate does allow for some great utilization of the slow motion.

The instrumental score enhances the sweeping landscape shots, and fight scenes elevate the sequences to epic heights. The incorporation of singing into the plot leads to some emotional scenes as well as some beautiful vocals. One character’s sacrifice is made particularly impactful due to this incorporation of musical elements. The visual and audio components work hand in hand to give this story the gravitas an ancient myth deserves.

While Warrior King ‘s visual presentation is excellent, the basic story elements leave much to be desired. These elements do not attempt to humanize the characters, leaving many of them feeling like caricatures defined by a singular trait. For example, Chori’s love interest is vain, his mother is loving, and his uncle is jealous. All of this characterization feels very surface-level, making the plot feel one-dimensional. 

The best example of these issues in characterization comes from its protagonist, Chori, being portrayed as otherworldly. The film presents the him with no flaws and without any real experience of loss. This lack of obstacles makes Chori feel unrelatable as he faces none of the basic human struggles that audiences can relate to. It almost feels as if the audience only roots for him because the film tells us to.

These flaws are brought to the surface by the untraditional plot structure and pacing, which makes everything feel overly long and puzzling at times. Rather than allowing the character to evolve past his younger self, he spends the majority of the film as a child. This creative choice makes our protagonist feel stagnant, slowing the pacing of the story down. When time finally does pass, it’s as if nothing has changed beyond the character’s appearances. The narrative moves from plot point to plot point without consequence, creating a hero’s journey that feels longer than it needs to be.

While  Warrior King presents its story with much care and effort, the source material drags down the filmmakers’ efforts in adapting the classic myth. The creative team’s dedication to the original myth is admirable, but from a storytelling perspective, it would have benefited from modernizing the characters, helping audiences connect with the overall film beyond a visual level.

Warrior King is currently playing in theaters courtesy of Cineverse. 

[youtube https://www.youtube.com/watch?v=cOLubPkIQww]

While Warrior King presents its story with much care and effort, the source material drags down the filmmakers' efforts in adapting the classic myth. The creative team's dedication to the original myth is admirable, but from a storytelling perspective, it would have benefited from modernizing the characters, helping audiences connect with the overall film beyond a visual level.

• GVN Rating 5
• User Ratings ( 0 Votes) 0

I’m Andrew! I love discussing movies and tv shows. My favorite genres include animation, musicals, and especially Superheroes.

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Warrior King Review

28 Jul 2006

NaN minutes

Warrior King

Last year, the astonishingly brutal Thai action movie Ong-Bak failed to make the box-office splash it deserved. Even so, its star Tony Jaa is already set to join that martial-arts crossover pantheon occupied by Bruce Lee and Jackie Chan. This year, Jaa’s back alongside director Prachya Pinkaew and tubby comedy sidekick Petchtai Wongkamlao, though this is no sequel (that’s to follow). It’s more of a remake, substituting a pair of elephants for the original’s stolen Buddha head and moving the action from Bangkok to Sydney.

The location-shift is sadly the film’s big letdown. Half of Wongkamlao’s lines are in English, and he struggles painfully with every risibly ADR’d syllable. Furthermore, all the English dialogue is just embarrassing to an English-speaking audience.

Thankfully, the bits that matter most — the dust-ups — are superb. One ‘wow’ sequence is a five-minute glide up a building’s spiralling balcony, following Jaa as he elbows and knees his way through a wave of goons. Another sees him face-off with Aussie strongman Nathan Jones, a reinforced concrete shithouse who tosses Jaa around like a ragdoll. As you’d expect, plot and character recede into irrelevance during action of this calibre.

Warrior King review

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Where Ong-Bak crackled, The Warrior King fizzles. The Thai title – Tom Yum Goong – is a shrimp soup speciality. Rich and rangey complement of ingredients, but a tad gloopy and overseasoned for some tastes. The dream-team of Pinkaew, Jaa and fight choreographer Panna Rittikrai is still in place. But The Warrior King is a punch-drunk pugilist, favouring lumbering, periodic swipes over Ong-Bak’s high-stamina scampers and scurries. As with Bruce Lee before him, Jaa’s talent is so radiant, Pinkaew and Rittikrai are clearly having too much fun conceiving ever more outrageous fight scenes for them to bother with the business of fitting a decent film around them.

The Warrior King is what happens when you try to do more of the same, only bigger, louder, pricier – missing the point that the original’s key pleasure was its cheapo charm. Gone is the gleeful pornography of those multi-angled slo-mo replays. No more of that exquisite, 20-odd minute foreplay, teasing and cranking up to the first screen-rippling, surgical knee-strike. Jaa’s feral, feline charisma and his wild and wireless approach to stunt work have been sidelined by soppy CGI, Westernised baddies, needless chopper’s-eye-view sweeps of Sydney and formulaic action-movie bluster (you gaped and gagged at Ong-Bak’s fridge-fight, but you’ll yawn at The Warrior King’s Leap Off Building And High-Kick Helicopter-Clinging Bad Man).

Christ, the fight scenes are good. So good, Pinkaew could have replaced the rest of the film with linking, silent movie-style title cards (‘KHAM ENTERS RESTAURANT, STILL ELEPHANTLESS’, ‘KHAM WANDERS INTO BURNING TEMPLE FOR SOME REASON – NOT IMPORTANT’), chopped the running-time to 30 mins, and we’d still recommend you go see it.

There’s a skin-slicing scrap with a whip-cracking ladyboy; an underpass shoeing of big boys with big sticks; a gymnastic dust-up with a sword-flailing psycho that sees Jaa use a gong for a shield and gong-beaters as an improv weapon...

Most wincingly, to demo his new, close-quarters style, there’s an ‘Oof!’, ‘Eesh!’ and ‘Jesus!’-inducing sequence where he systematically snaps, grapples and joint-pops his way through the arms, legs, necks, hips and assorted sinews of an army of disposable henchmen. Pinkaew pulls back to reveal his all-conquering hero, last man standing over a writhing carpet of artfully dislocated casualties.

So Jaa’s position as the new martial arts movie superstar is indisputable, even if The Warrior King is little more than limiting genre filler. The next challenge is to see if he can evolve and elbow his way off the straight-to-DVD bus bound for Jean-Claude Van Damme Land.

A major case of Difficult Second Movie Syndrome. Twilight-TV tat made watchable by Tony Jaa's fearsome, fearless acrobatics.

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Warrior king.

Directed by Lu Qi

In this epic true story inspired by the legend of King Gesar, a young man grows up in exile in a world overrun by demons and monsters. When evil forces threaten his home, he returns to save his people and embrace his destiny as great hero and ruler.

Director Director

Writers writers.

Lu Wunan Wang Yunsheng

Composer Composer

Alternative title.

Fantasy Action Animation

Releases by Date

19 aug 2023, releases by country.

110 mins   More at IMDb TMDb Report this page

Popular reviews

Review by foomaj ★½

2023 Ranking | Every Animated Movie Eligible for the 2024 Oscars

Shoutout to Tubi for having the original language so it was actually bearable, the english dub was horrendous.

Nearly stays away from being the worst animated movie of the year but just because Monkey King was so bad. I can't believe Monkey King was easily worse than a movie that looked like this. Will never think about this again outside of the terrible animation

Review by Clayton Walter ★★

This English dub is horrible (like laughably horrible), but sadly it's the only version playing in LA. Not that being in another language would improve things much. This is an overlong bore. 

The saving grace is the cel-shaded (?) aesthetic on the characters. I never got tired of looking at them, even if their movement was often wonky. It felt like I was watching video game cutscenes.

Review by PotatoOfAwesome ★★

A great example of just how much a bad dub can ruin a movie, the misunderstood animated film 'Warrior King' is........just fine.

I'll keep this quick for I really need to sleep but what is this movie?? Whenever there's a Chinese animated film that is criticized for its bad dub I always try looking out for the original to give it a fair shake, and while the Mandarin version was nowhere near as awful an experience as the alternative, this film is not very remarkable and it's likely I will not be watching it again.

What caught my attention is the animation style, it's actually quite stylized and interesting and that's why I was kind of interested in seeing it…

Review by suthw ½ 2

So incredibly incredibly terrible. Looked like a mobile game ad, horrific English dub, and just unfathomably irritating to watch. 

Sutherland try to watch good movies challenge (IMPOSSIBLE EDITION)‼️

Review by zeugitai_guy ★★½ 1

Absolutely beautiful, but rather disappointing in its adaptation of the source material, especially in its religious aspects. But please give me even more animation of oral epics!

Review by wynter_in_eden ★½

Sometimes the cel-shaded aesthetic worked in the animations favour, creating plenty of visual interest and doing a lot of heavy lifting in terms of sustaining engagement; at other times it was hideous. Having never read any versions of King Gesar's tale to compare with, the story had a great epic-myth feel to it, blocky and very unsubtle, though nevertheless pleasing because of it. It's becuase of the this approach to the material that I was more forgiving of the edit, which at various points feels as though someone took a log splitter to the footage.

But, OMFG, the English language version I watched was all kinds of atrocious. The voice acting itself wasn't hateworthy, but the translations themselves too often came across as bizarrely inhuman.

Review by Jake Ziegler ★

I've played arcade games with better VFX and more coherent stories than this movie. In fact, a few years ago, I was on a work trip, and the boss took us to a Detroit Red Wings game. We also stopped at a mall for some good-natured fun, and my buddy and I played a dead pirate game, and I can't remember the name. It was kind of like "Pirates of the Caribbean," but less Disney. Anyway, that was awesome. This movie, was not.

Review by JacobOutlook ★

A neat concept for a story overrun by ugly ass animation and some of the most annoying, boring, and incoherently written characters you'll ever see. The female lead is honestly another Rikako situation.

I watched the dub, but that's only because I wanted to feel something.

Review by Jeryl Koh ★

Story and Characters: 1/5 Animation: 1.5/5 Soundtrack and Other Elements: 1/5 Level of Enjoyment: 0.5/5 Overall Score: 4/20 Blaziker’s Hot Sauce Rating: Mild

It is not every day that I dislike a Chinese animated movie, considering that we are seeing so many great animated movies from this country for the past few years. However, Warrior King is a Chinese animated movie that felt flat on its face when it comes to its execution.

The writing is honestly terrible as the pacing felt way too slow, they focused too much on the story and not on the characters, the animation is way too stylised with terrible character movements and I did not care much about the soundtrack. This is not to…

Review by naboo nebulous ★★

story of gesar of ling (somewhere in around tibet). it is still a living oral epic tradition meaning there are many bards alive that can recite the entire epic from memory or via divine channeling. the epic is considered the longest literary work in the world some 120 volumes, containing over 20 million words in more than one million verses.

as much as the epic itself is grand this anime version is a total mess. the anime style itself is like from a bad video game. and there are parts that deviates from the original story. what a waste.

Review by severelysocial ★

I don’t know how this happened. Three stars.

Review by Brian ½

This film focused too much on establishing the lore rather than making you care about the characters, making it very much a slogging bore for a good majority of the film until you actually could start recognizing and caring about the characters to some degree. By that point though, you are probably long disinterested.

It’s not like this film is necessarily bad to look at, but it’s way too overstimulating and at times looks like a mobile game ad, except it’s feature length which does make it exhausting. The dub is also objectively awful, and perhaps may be better in its native language. Some of the character designs are not half bad, but so many of them are extremely cold…

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Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, the woman king.

Now streaming on:

From the moment Gina Prince-Bythewood became a director, her strength has always resided in her commitment to love stories. In her films, sumptuous twilight passions happen on a basketball court, they occur between generations, on the ladder rungs of show business, and between immortals. They center Black women carrying power and interiority, while finding strength within themselves, and often, other Black women. With her Netflix produced film, “ The Old Guard ,” she continued those themes on a grander scale. But nothing in her filmography can wholly prepare you for the lushness of her latest work. 

In going into “The Woman King,” a big-hearted action-epic whose major challenge is being sincere and historical while fulfilling its blockbuster requirements, you might feel some hesitation. Especially in a cinematic landscape that prizes broad statements on race over sturdy storytelling. You might wonder how Prince-Bythewood can shape a tale centering the Agojie warriors—an all-woman group of soldiers sworn to honor and sisterhood—hailing from the West African kingdom of Dahomey, when one considers their hand in perpetuating the transatlantic slave trade. It’s a towering task approached by Prince-Bythewood and screenwriter Dana Stevens with gentle sensitivity, and a fierce desire to show Black women as the charters of their own destiny. 

The film begins with flair: A group of men lounge at the center of a field by a campfire. They hear rustling in the tallgrass; they see a flock of birds fly away on a breeze. Suddenly a menacing Viola Davis playing Nanisca, the world-weary Agojie general, emerges from the grass armed with a machete. An entire platoon then appears behind her. The ensuing slaughter of the men (the women in the village are left unharmed), is soaked in delirious gore, and is part of this warrior ensemble’s mission to free their imprisoned kin. Nanisca, however, loses so many comrades in the process that she decides to train a new batch of recruits. 

After the thrilling opening battle scene, the plot to “The Woman King” can feel convoluted. But its excesses serve the film’s blockbuster goals. A defiant teenager, Nawi ( Thuso Mbedu ), is offered up as a gift to the young King Ghezo ( John Boyega ) by her domineering father, who is frustrated with his obstinate daughter’s refusal to marry her many suitors. Nawi, however, never makes it to the King, as the unflinching yet fun warrior Izogie (a phenomenal Lashana Lynch ), sees Nawi’s resistance as a strength, and enlists her in Nanisca’s training. Being part of the Agojie promises freedom to all involved, but not to those they conquer. The defeated are offered as tribute to the draconian Oyo Empire, who then deal their fellow Africans as slaves to Europeans in exchange for guns. It’s a circle of oppression that the guilt-ridden Nanisca wants the King to break. In the meantime, a dream has haunted Nanisca, and the disobedient Nawa, who struggles with upholding some of Agojie clan’s strict requirements, particularly the "No Men" part. It might be the key to what ails her.       

Despite these clunky narrative beats—there’s a twist halfway through that nearly causes the story to fall apart—the sheer pleasure of “The Woman King” resides in the bond shared by these Black women. They are the film’s love story as they commit to each other as much as they do to their grueling training. Vast compositions of Black women caring and nurturing each other proliferate “The Woman King,” and the rituals and songs they share adds further layers to their deep devotion. 

Prince-Bythewood isn’t afraid to rely on emotional heft in an action movie. Every actor in this deep ensemble is granted their own space; they're organically challenged but never artificially wielded as a teaching tool for white audiences. Sheila Atim , who along with Mbedu turned in a stellar performance in Barry Jenkins ’ “ The Underground Railroad ,” is measured, aware, and giving as Nanisca’s trusted second-in-command Amenza. Boyega is commanding yet beguiling as a king projecting confidence while still learning what it means to lead (many of his line readers are instantly quotable). 

“The Woman King,” however, is quite messy. The overuse of VFX for landscapes, fake extras, and fire often flattens the compositions by cinematographer Polly Morgan ; she finds greater latitude in capturing the bruising yet precise fight choreography. And the low-simmering romance that emerges between Nawa and Malik, a ripped Portuguese-Dahomen fantasy ( Jordan Bolger ) returning to discover his roots, while clear in its intent to test Nawa’s dedication to her sisters, is unintentionally comical in its awkwardness. The script far too often also tries to neatly tie together these characters, especially Nawi and Nanisca. 

But when “The Woman King” works, it’s majestic. The tactile costumes by Gersha Phillips ("Star Trek Discovery") and the detailed production design by Akin McKenzie (“Wild Life” and “ When They See Us ”) feel lived in and vibrant, especially in the vital rendering of the Dahomey Kingdom, which is teeming with scenes of color and community. Terilyn A. Shropshire ’s slick, intelligent editing allows this grand epic to breathe. And the evocative score by Terence Blanchard and Lebo M. gives voice to the Agojie’s fighting spirit. 

Though Davis is the movie’s obvious star, turning in an aching and psychically demanding performance that’s matched pound for pound with her interiority, Mbedu reaffirms herself as a star too. She gives herself over to the tale of a woman who so desires to be heard that she never backs down to anyone. A glimmer follows Mbedu in her every line read, and gloom follows her in devastation. There’s one scene where she cries over the body of a fallen warrior and lets out a wail with an impact that travels from your toes to your spleen. 

The subplots in “The Woman King” might undo it for some. But the magnitude and the awe this movie inspires are what epics like “ Gladiator ” and “ Braveheart ” are all about. They’re meant for your heart to override your brain, to pull you toward a rousing splendor, to put a lump in your throat. In between the large, sprawling battles of "The Woman King," and in between the desire to not yield to white outside forces and the urge to topple oppressive and racist systems, the guide is sisterly love, Black love. Thrilling and enrapturing, emotionally beautiful and spiritually buoyant, “The Woman King” isn’t just an uplifting battle cry. It’s the movie Prince-Bythewood has been building toward throughout her entire career. And she doesn’t miss.  

This review was filed from the Toronto International Film Festival on September 10th. "The Woman King" opens on September 16th.

Robert Daniels

Robert Daniels is an Associate Editor at RogerEbert.com. Based in Chicago, he is a member of the Chicago Film Critics Association (CFCA) and Critics Choice Association (CCA) and regularly contributes to the  New York Times ,  IndieWire , and  Screen Daily . He has covered film festivals ranging from Cannes to Sundance to Toronto. He has also written for the Criterion Collection, the  Los Angeles Times , and  Rolling Stone  about Black American pop culture and issues of representation.

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The Woman King (2022)

Rated PG-13 for sequences of strong violence, some disturbing material, thematic content, brief language and partial nudity.

135 minutes

Viola Davis as Nanisca

Thuso Mbedu as Nawi

Lashana Lynch as Izogie

Sheila Atim as Amenza

John Boyega as King Ghezo

Hero Fiennes Tiffin as Santo Ferreira

Jayme Lawson

• Gina Prince-Bythewood

Writer (story by)

• Maria Bello
• Dana Stevens

Cinematographer

• Polly Morgan
• Terilyn A. Shropshire
• Terence Blanchard

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The Woman King

A historical epic inspired by true events that took place in The Kingdom of Dahomey, one of the most powerful states of Africa in the 18th and 19th centuries. A historical epic inspired by true events that took place in The Kingdom of Dahomey, one of the most powerful states of Africa in the 18th and 19th centuries. A historical epic inspired by true events that took place in The Kingdom of Dahomey, one of the most powerful states of Africa in the 18th and 19th centuries.

• Gina Prince-Bythewood
• Dana Stevens
• Maria Bello
• Viola Davis
• Thuso Mbedu
• Lashana Lynch
• 521 User reviews
• 220 Critic reviews
• 76 Metascore
• 28 wins & 124 nominations total

• Santo Ferreira

• (as Chioma Umeala)

• (as Siv Ngesi)

• (as Angelique Kidjo)
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Producer Maria Bello visited Benin in West Africa to research the Agojie, and returned to the US, convinced she had found a great movie pitch. The project then stayed in development hell for years, first at STX (which only offered $5 million for the budget), then at TriStar. Only after the massive success of Black Panther (2018) was the film greenlit with a $50 million budget.
• Goofs The Dahomey Mino (or Dahomey Amazons) did not fight to end slavery but were in fact prolific slavers themselves. The Dahomey enslaved thousands of fellow Africans until the kingdom was defeated by the French in 1894.

Nanisca : We are the spear of victory, we are the blade of freedom, we are Dahomey!

• Crazy credits There's a mid-credits scene, in which Amenza is seen performing a memorial ceremony for her fallen sisters, pouring salt and whiskey over their weapons. She says their names aloud, and the last name we hear is Breonna.
• Connections Featured in Black Conservative Perspective: WOKE BACKFIRE! 'The Woman King' DESTROYED For Glorifying African Women Fighting To Protect Slavery! (2022)
• Soundtracks Tribute to the King Written and produced by Icebo M

User reviews 521

• kevin_robbins
• Sep 16, 2022
• How long is The Woman King? Powered by Alexa
• September 16, 2022 (United States)
• United States
• South Africa
• Sony Pictures Entertainment
• Nữ Vương Huyền Thoại
• TriStar Pictures
• Eone Entertainment
• TSG Entertainment
• See more company credits at IMDbPro
• $50,000,000 (estimated)
• $67,328,130
• $19,051,442
• Sep 18, 2022
• $97,562,514

Technical specs

• Runtime 2 hours 15 minutes
• Dolby Digital
• IMAX 6-Track
• Dolby Atmos

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Joseph Staszewski

King and queen of the ring sets up intriguing wwe summer — but not without some controversy.

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WWE has made a habit of delivering satisfying secondary premium live events, and King and Queen of the Ring was no different.

They gave us two intriguing winners to the tournaments in Nia Jax and Gunther — both of whom earned championship matches at SummerSlam — despite some passed-over controversy on the men’s side.

Gunther may be the most interesting because it puts him on the fast track to becoming a world champion in the company just months after losing his Intercontinental championship at WrestleMania.

We got an expected title change when Liv Morgan took down Becky Lynch, and it laid out the start of her storyline for Rhea Ripley’s eventual return.

The Intercontinental championship feud added another layer, and Cody Rhodes and Logan Paul put on a fun and chaotic main event.

WWE leaves Saudi Arabia in a solid place creatively with Jax, Gunther and Morgan in place heading into the summer.

Uncle Howdy was not delivered despite the QR code teases increasing in frequency and detail of late.

Here are five takeaways from the event in Jeddah, Saudi Arabia, on Saturday.

Controversial crowning

The King of the Ring final didn’t come without controversy. Gunther pinned Randy Orton after kicking out of an RKO because he punched the injured knee injury Orton was selling from his run-in with the Bloodline on SmackDown and his opponent worked throughout the match.

Gunther immediately jumped on Orton and stacked him up for a pin to win the tournament. But Orton’s shoulder was clearly way off the mat, and the referee was in perfect position to see it.

Gunther also made no effort to push the shoulder down, making it seem this is what WWE wanted. 

Triple H addressed the controversy on social media after the event, saying the referee’s decision would stand. He did tease a rematch at some point between Orton and Gunther, but not for the right to call themselves King of the Ring. It will however add anticipation for Orton’s return.

GUNTHER PINS ORTON FOR THE WIN. Orton had his shoulder up #WWEKINGANDQUEEN pic.twitter.com/jbWshFx2JI — Capo 🎖️ (@UndisputedCapo) May 25, 2024

The match itself told the story of Gunther continuing to reinjure Orton’s knee in a very physical contest. Orton hit RKOs twice, the first time being unable to get to the cover because of the knee. 

After the match, Gunther announced he would be challenging for the World Heavyweight championship at SummerSlam and not the Undisputed WWE championship.

That’s bad news for whoever holds the World Heavyweight championship at that time.

Damian Priest and Drew McIntyre will battle for the title at Clash at the Castle in Glasgow, Scotland, on June 15. But the King of the Ring result makes it feel as if Gunther is on the fast track to become the world champion this summer.

Helping hand delivers gold

Morgan’s revenge tour had a successful first stop as she defeated Lynch to become the women’s world champion, but not without some conspicuous help from Dominik Mysterio.

Mysterio said earlier in the show he flew to Saudi Arabia to ensure Morgan didn’t leave with Rhea Ripley’s championship. Even so, his actions raise a ton of questions.

There are multiple times throughout the match where Morgan thought she did enough to win, but Lynch was able to kick out — leading at one point to a mini temper tantrum in the ring.

Mysterio appeared ringside when Becky Lynch had Morgan locked in Dis-Arm-Her submission and ended up distracting the champion. He later threw a chair into the ring for Lynch to use, likely knowing she would refuse, as she did — arguing with Mysterio instead.

It opened the door for Morgan to hit a DDT onto the chair and then Oblivion to defeat Lynch to become a world champion for the second time in her career.

Remember a few weeks ago when Mysterio was seen on Raw coming out of the same locker room as Morgan. This really feels like the two are working together and leading to a bigger storyline when Ripley returns from injury.

After the match, Lynch reamed out Mysterio backstage and said she was going to enact her rematch clause.

Unde-Nia-ble

Jax added some validation to her successful return to the company since the Royal Rumble by becoming just the second-ever Queen of the Ring and immediately challenging Bayley for the WWE Women’s championship at SummerSlam.

She is having some of the best matches of her career and would give Bayley — if she’s still holding the belt in August — a true heel to feud with at SummerSlam. Their last singles match came in 2019.

Nia Jax is the Queen of the Ring. Incredible finish! #WWEKingAndQueen pic.twitter.com/mxaAco0C4O — Fightful Wrestling (@Fightful) May 25, 2024

Jax is also going to have a ton of fun taunting crowds with her crown all summer, which already began after Triple H handed it to her.

She won when Lyra Valkyria was attempting to flip under Jax for a powerbomb off the top rope. Instead, Jax got her footing on the second rope and slammed her butt down onto her opponent’s chest for a gnarly-looking Annihilator. Jax sat down demonstratively with her arms folded just like Yokozuna used to.

This was a really strong outing for Valkyria, who bounced around the ring pulling off moves, sold well and aided in making Jax look good at times. The veteran NXT call-up continues to proved she is a top-level worker.

Letting a breakup brew

WWE delivered a pretty much perfect ending to its Intercontinental Championship triple-threat match, which was arguably the match of the night.

Chad Gable again tried to get Otis’s help to win. The big man was eager to take out Bronson Reed, but reluctant to hit Sami Zayn after apologizing to him for his interference earlier in the week on Raw.

After Otis initially held back from delivering a clothesline to Zayne on the outside, Gable lit into him — telling him to “wake up” and eventually slapping him. 

Otis finally relented, but instead of clotheslining Zayn, he hit Gable when the champ ducked. 

It knocked Gable out of the match and allowed the champion to get back into the ring. Zayn then delivered a Helluva kick to Reed to retain the championship.

This was perfect because it allowed for a one-on-one rematch between Zayn and Gable and gives some proper time to build the story of Otis eventually having enough of Gable. It should allow for a bigger pop when that moment happens instead of wasting it here.

This match was excellent as the three men really took advantage of the triple-threat format.

There was one point where we got double moonsaults from Gable and Reed. Gable also suplexed both Reed and Zayn at the same time in what was the move of the match.

Rhodes map — with detours

The Rhodes-Paul main event was action-packed and certainly exciting at times. But, man, this was full of a lot of extracurricular stuff.

Paul, of course, went back on his agreement not to use his signature brass knuckles, getting slipped them by his business manager Jeff ringside. He eventually punched Rhodes in the ribs on the outside.

Look mom I can fly @WWE pic.twitter.com/vs6HdYhp6O — Logan Paul (@LoganPaul) May 25, 2024

Rhodes later accidentally knocked out the referee briefly, leading to him being unable to successfully pin Paul after hitting a Cross Rhodes.  

Paul delivered a low blow and was looking to use the brass knuckles again.

That’s when guest ring announcer and Saudi Arabian actor Ibrahim Al Hajjaj held Paul’s foot and kept him from punching Rhodes one more time. 

It gave the champion the opening he needed to deliver the triple Cross Rhodes — a great show of respect to Paul — to put the United States Champion down for a feel-good victory to end the show and retain the Undisputed WWE championship. The champ even told Paul, “I’m Cody Rhodes, bitch,” to hammer things home.

Who is next for Rhodes is anyone’s guess. Maybe they still start a program with Orton at some point, but WWE has time. 

“I’M Cody Rhodes B*TCH” #WWEKINGANDQUEEN https://t.co/F8t9mPpVAf pic.twitter.com/xCrBbHzy4z — #WeWantCody (@WeWantCody_) May 25, 2024

This one did have plenty of action with Paul delivering a top-rope Frog Splash — which got some special 360 camera work on Rhodes through the announce table. Rhodes delivered an extremely rare Vertebreaker move.    

Paul also delivered one of the best sells for a Figure Four in a while, complaining to the ref to tell Rhodes to take it off and telling Cody he was going to break his leg.

Other Matches

Bianca Belair and Jade Cargill over Indi Hatwelll and Candice LeRae to retain the WWE women’s tag team championships

This was a really good match for Belair, who was out there pulling off power moves and scoring the pin even while working a knee injury.

This is a GREAT finish for Bianca Belair and Jade Cargill. WOW #WWEKingAndQueen pic.twitter.com/9u5jkEcBW3 — Fightful Wrestling (@Fightful) May 25, 2024

WWE is still taking the less-is-more approach with Cargill, who rattled off some familiar offense after a hot tag in this kickoff show match.

Cargill and Belair continue to be creative in their tandem offense, and the finish was no different: They pulled off a cool-looking assisted DDT-suplex combo. There two are developing good chemistry little by little.

Biggest Winner: Gunther

Biggest Loser: Bronson Reed

Best Match: Cody Rhodes vs. Logan Paul

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‘Twilight of the Warriors: Walled In’ Review: Blazing Action Delights Get Marred by Languid Soap Opera

While Soi Cheang's action film often flounders, it recreates '80s Hong Kong iconography with visual splendor.  

By Siddhant Adlakha

Siddhant Adlakha

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Unfolding in the cramped corridors of Hong Kong’s Kowloon Walled City (it was one of the most dangerously dense urban areas on Earth before being demolished in 1993), Soi Cheang ‘s ’80s-set “ Twilight of the Warriors: Walled In ” delivers on its blockbuster action promise. However, its martial arts spectacle is scattered across a sprawling refugees-and-triads saga that, while adequately laying foundation for the aforementioned fisticuffs, is seldom coherent or engaging on its own.

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The spry camaraderie between Lok-kwun and his fellow fighters brightens the city’s dingy alleys, practically turning its exposed piping into playful jungle-gyms. The production design is impeccable and functions in tandem with even the most ludicrous action. This usually involves Mr. Big’s cartoonish, cackling right-hand-man King (Philip Ng), who practically warps the movie into a question of whether or not friendship can defeat an obnoxious henchman with rat tail hair and wuxia superpowers.

The film is at its best when it leans into farce. However, the more its tone adjusts to accommodate the invading soap opera about old men tethered to the past, the less it translates its story through action, depending instead on dialogue delivery that isn’t remotely as dynamic in presentation. And while sweeping political change looms on the horizons — the film features news broadcasts aplenty hinting at the city’s fate under impending British mandates — this state of transition becomes far more factual than emotional, given the degree to which Lok-kwun and his pals have to deal with the winding, generational plot, instead of the world that’s right in front of them. The result is a film that fires on all cylinders in its action scenes — rife with a Western-inspired score, and indulgent pleasures like motorbikes charging through narrow hallways — that still feels too often distracted.

Reviewed at Cannes Film Festival (Midnight Screenings), May 17, 2024. Running time: 125 MIN. (Original title: “Jiu Long cheng zhai · Wei cheng”)

• Production: (China-Hong Kong) A Media Asia Film Prod. Ltd., Entertaining Power Co., Limited One Cool Film Prod. Ltd., Sil-Metropole Organization Ltd., Lian Ray Pictures Co. Ltd., Zhe Jiang Heng Dian Film Co. Ltd. production. Producers: John Chong, Wilson Yip Wai Shun.
• Crew: Director: Soi Cheang. Screenplay: Au Kin-yee, Shum Kwan-sin, Chan Taili, Lai Chun. Camera: Cheung Siu-keung. Editor: Cheung Ka-fai. Music: Kenji Kawai.
• With: Louis Koo, Raymond Lam, Terrance Lau, Philip Ng, Tony WuTsz Tung, German Cheung, Richie Jen, Wong Tak Pun Kenny, Fish Liew, Chu Pak Hong, Cecilia Choi, Lau Wai Ming, Sammo Hung. (Cantonese dialogue)

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