31. Moebius (Kim Ki-duk, 2013, S. Korea)
Kim's obvious purpose was to shock his audience and he definitely succeeded in doing so. Almost every onerous notion is present in “Moebius”, including self-torture, misogynism and Oedipal inclinations. Adding to the sense of perversion erupting from the movie is the almost complete absence of dialogue, a tactic meant to force the spectator to focus on the very graphic images… Evidently, “Moebius” is a very difficult film for somebody to watch, a fact stressed by its obvious low budget. (I found myself sweating in a number of scenes although I am not at all strange to movie violence). However, if one were to surpass the shock, he would discover a true masterpiece of the grotesque. (Panos Kotzathanasis)
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32. MAI CHAN's Daily Life: The Movie (Sado Sato, 2014, Japan)
Sado Sato directs a truly horrible film, which reveals itself from the introductory scene and never ceases to shock, with its mixture of abnormal eroticism and grotesque torture. Obviously, there is no depth here, just violence combined with lesbian notions and much fanservice. (Panos Kotzathanasis)
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33. Raman Raghav 2.0 (Anurag Kashyap, 2016, India)
Anurag Kashyap, the director who made an international name for himself with “Gangs of Wasseypur”, has a touch for dark thrillers. “Raman Raghav” 2.0” is loosely inspired by the case of Raman Raghav, a killer operating in Mumbai (then Bombay) in the mid-60s. There's no period setting, and the director dwells in many shades of black, building his disturbing dark universe of evil, and also explores toxic patterns of masculinity. In this festival of gore violence, you won't find a single ray of hope. Nawazuddin Siddiqui as the killer and Vicky Kaushal as assistant commissioner of police chasing him give a hell of a performance. (Joanna Kończak)
34. Hime – Anole (Keisuke Yoshida, 2016, Japan)
Keisuke Yoshida manages to elaborately merge two films into one, as the transition between the two parts is utterly smooth, despite their many differences. The fact that the second part, containing violence, gore, and sex, comes after the first one (which could be rated PG-13), is a very unusual tactic, but Yoshida made the most of it. The same applies to the messages he presents, as the first part shows the lives of the people living on the borders of society and where that can lead them, while the second highlights the consequences of bullying and violence in general
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35. Brutal (Takashi Hirose, 2017, Japan)
The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard. (Adam Symchuk)
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36. Liverleaf (Eisuke Naito, 2018)
“Liverleaf” is a film that I am sure every teen will enjoy. But it does have enough going on outside of teen drama for the rest of us to appreciate, whether or not you are a manga fan. I think the moral of this story is not to ever let teens get their hands on sharp knives, and that teen angst is a force of nature that can turn deadly, fast. (Matt Ward)
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37. The Night Comes for Us (Timo Tjahjanto, 2018, Indonesia)
Regarding the violence of the film, I have to say that this is one of the bloodiest action films ever. The combination of gore, intense sound (just listen to the sound of bones being broken and you will know what I mean), and the repeated neck stabbings, result in a number of ultraviolent scenes, where blood seems to fill the whole screen. Evidently, not a film for the faint-hearted. Not much more to say. If you enjoy violent action/ martial arts films, do not look further, “The Night Comes for Us” is at the top of the category. (Panos Kotzathanasis)
38. Kodoku Meatball Machine (Yoshihiro Nishimura, 2018, Japan)
After the first 20-minutes, all of the radically different themes come together through violence, gore and extreme action, with the film taking the form everyone is expecting from a Nishimura production. Starting with the metamorphosis, which eventually has almost everyone that wronged Yuji transforming into a Necroborg using weapons according to their previous occupation, and continuing with the killing of innocents (including a kid) and much fighting among the creatures and Yuji and his gang, the film becomes a true bloodfest, where, apart from blood, Nishimura's extreme imagination and slapstick humor seem to thrive. (Panos Kotzathanasis)
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39. The Sadness (Rob Jabbaz, 2021, Taiwan)
This quantity of fun encounters produces an over-the-top and extraordinary amount of carnage and bloodshed on display. The amount of bodies shown being torn open, bitten, and devoured is staggering to think of as eyes are gouged out, necks are chomped, fingers ripped off, and much more. The straightforward approach to the effects-work means that these scenes never become campy or ridiculous but rather remain grounded in a realism that's immensely satisfying as the film goes on. However, it's the hardcore bloodshed on display from the multiple stabbings that really win out here as the brutality inherent in these sudden ambush sequences that produce an immeasurable spray of blood onto the attackers and surrounding areas. Featuring all kinds of great effects-work throughout, there's a lot to like with the film. (Don Anelli)
40. Project Wolf Hunting (Kim Hong-sun, 2022, S. Korea)
As the prisoners plan their escape, a network of lies and corruption slowly weaves itself into the story; it turns out that there are secrets on this cargo ship that nobody knew about, dating all the way back to Imperial Japan's occupation of the Philippines in World War 2. Not much more can be said without spoiling some of the most exciting and surprising elements of the film, but one thing is for sure: There is a ton of blood and skull-bashing involved. Viewers should be advised not to become too attached to a single character in “Project Wolf Hunting,” because nobody is safe on this nighttime marine voyage. (Spencer Nafekh-Blanchette)
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