The infamous Neo Kino A.D. returns to our cave with a double bill showcasing some of the best female action performers in film history!

A film that doesn’t ask for permission and doesn’t look back. This is Hong Kong action at its most unhinged: automatic weapons screaming, bodies flying, alliances collapsing mid-shootout. Plot exists only to justify escalation. And at the center of the chaos are the women. Not as gimmicks, not as sidekicks, but as the film’s blunt instruments of violence.

Moon Lee detonates onto the screen with a performance that would define her career. Iron Angels is effectively her launchpad: cool, ferocious and physically precise. She moves like a coiled weapon. The film doesn’t sell her as 'tough for a woman', it just lets her be tough full stop. Hong Kong cinema took note and Lee went on to become one of the era’s most recognizable female action leads.

Backing her up is Yukari Oshima, whose martial arts background brings a brutal weight to the film. Her blows land harder, her presence feels dangerous, and every fight she’s in carries a sense of real physical risk. 

What makes Iron Angels hit so hard is its total lack of apology. The violence is excessive, the pacing merciless, the tone dead serious. The film treats its female leads the same way it treats its explosions: bigger, louder, and central to the spectacle. Sweaty, aggressive, and gloriously trashy. Pure grindhouse energy.

The Stranger is lean, hard-knuckled ’90s action built around one undeniable fact: when the lead has real combat authority, the genre hits differently. The film strips action cinema down to its essentials: momentum, confrontation and physical credibility.

At the center is Kathy Long, five-time world champion kickboxer, who stars as the mysterious outsider who rides into town and dismantles a violent biker gang. Long isn’t acting toughness, she is toughness. Every punch, kick, and stance comes from lived discipline, showcasing her combat skills on screen and anchoring the film’s action with physicality rooted in real-world training. 

The Stranger was one of Long’s earliest major screen roles, and the film understands exactly what it has in her: dialogue is sparse, posturing minimal, her performance is carried almost entirely through physical presence: controlled, grounded and quietly intimidating...