Ghost Killer Review (Glasgow Film Festival 2025)

Kensuke Sonomura is steadily cementing himself as one of the greats of modern action cinema. His work as an action director on the Baby Assassinsfranchise,One Percenter, and Resident Evil: Vendetta is both distinctive and innovative, injecting fresh energy into the realms of gun-fu and traditional martial arts action. It was only a matter of time before Sonomura took the helm of a project of his own, which he did with Hydra and Bad City. With Ghost Killer marking his third feature, my expectations were sky-high. Fortunately for action film fans,Ghost Killer is an absolute thrill ride.

The film opens with Kudo (Masanori Mimoto), a hitman fighting for his life against three masked assailants. After subduing them, he staggers away, pulling out a pack of cigarettes and tapping one out. Struggling to find a lighter, he eventually sits down to search for it—until the distinct sound of a Zippo flicking open catches his attention. Turning around, he is shot and killed. The shell casing from the fatal bullet begins its journey and ultimately ends up in the hands of Fumika Matsuoka (Akari Takaishi), a struggling college student trying to stay afloat while navigating the advances of men with ulterior motives. When she arrives home, she finds Kudo waiting for her—only she can see him. Kudo is a ghost, and when they touch, he can take control of her body.

Fumika is desperate to rid herself of Kudo—she has no desire to be haunted. However, they come to believe that Kudo can only move on if they fulfill his quest for vengeance. Written by Yugo Sakamoto (best known for Baby Assassins),Ghost Killer is an action comedy that uses levity to explore serious subject matter. One prominent theme is how women are preyed upon by toxic men for their own gratification. Fumika’s acquaintance Masaki (and calling him that is generous) harbours sinister intentions toward her, stalking her on the last train and even attempting to date-rape her—a truly nauseating act. Early on, Fumika imagines kicking Masaki but cannot act on these thoughts, likely out of fear for her own safety.

It isn’t until Kudo takes control of her body that she is able to act on her internalized rage, taking down Masaki and influencer Narumi for their heinous actions—not just against her, but for the many others they have harmed. This idea of control ties into another underlying theme: men dictating the actions of women. Though this concept isn’t explicitly addressed, it lingers throughout the film. At the end of the day, Kudo is already dead—when the guns are drawn and the fighting begins, it is Fumika who is truly in danger. The way Kudo exerts control over her could be seen as a reflection of toxic relationships, where the male partner dictates the female partner’s actions and decisions.

While Ghost Killeris an action comedy, it never uses humour to trivialize its serious themes; instead, the comedy naturally arises from the ghost possession premise. This includes Fumika’s futile attempts to exorcise Kudo with salt and the amusing reality that, no matter how hard she tries to ignore him, he remains ever-present—teleporting closer whenever she moves out of a certain range. These moments are genuinely hilarious, adding levity to a film that could have otherwise felt overly heavy. The dynamic between Fumika and Kudo is a joy to watch, elevated by Akari Takaishi and Masanori Mimoto’s fantastic chemistry and outstanding performances.

Kensuke Sonomura once again proves himself a true master of action, and Ghost Killer delivers spectacularly in that regard. Serving as both director and action director, Sonomura crafts sequences that showcase everything audiences have come to love about his work—starting from the very first fight. The close-quarters choreography is crystal clear, even in the dimly lit, abandoned mall where Kudo confronts his masked assailants. As the film progresses, the action fully embraces its possession gimmick. Initially, we see Akari Takaishi as Fumika executing the fight choreography, but at a pivotal moment, a seamless switch occurs, revealing Masanori Mimoto performing as Kudo. This culminates in a breathtaking final action set piece, where the film utilizes a Texas switch-style effect, employing clever editing to alternate between Fumika and Kudo mid-fight.

Kensuke Sonomura’s style is undeniably distinctive, yet never repetitive. While the action in Ghost Killer may share similarities with his previous work on One Percenter and Baby Assassins, Sonomura excels at adapting his choreography to suit each project and the performers he collaborates with. This results in inventive and exhilarating fight sequences that feel fresh every time. Given that Akari Takaishi is one of the co-leads in the Baby Assassins films, I initially worried that her choreography might be a carbon copy of that franchise. However, that concern proved unfounded—she flawlessly mirrors Masanori Mimoto’s movements, making the possession sequences all the more convincing.

With Ghost Killer, Kensuke Sonomura adds yet another fantastic entry to his ever-growing filmography, further cementing himself as one of the greatest action filmmakers working today. The film delivers incredible gunfights and martial arts action while striking the perfect balance between tackling real social issues and embracing its whimsical comedy. Simply put,Ghost Killer is nothing short of spectacular.