Film

Bullets of Justice

Name: Bullets of Justice
Genre: Action, Horror, Comedy, Science Fiction, War
Released: 2020
Cast: Timur Turisbekov, Doroteya Toleva, Danny Trejo, Yana Marinova, Neli Andonova

A gleefully deranged 2020 action-horror-comedy about human-pig hybrid super-soldiers ruling a post-apocalyptic wasteland. Imagine if a 1980s B-movie was remade by someone who'd just discovered Cronenberg and didn't believe in restraint. Pitch-black, grotesque, hilarious, and utterly committed to its own madness—for viewers who think mainstream action is too polite.

TMDb rating

2.5

Should you watch it?

Watch it if you enjoy gleefully cheap, over-the-top B-movies where the gore, the pig-man mythology and the deadpan absurdity are played with a wink and a straight face.

Skip it if you need slick production values or a story that builds steadily, since the budget shows in the effects and the plot is an excuse for the next set piece.

What it asks of you: Little more than eighty minutes, it moves at a sprint and rarely pauses for mood, so bring a willingness to go along with its jokes and its noise.

Not sure? Find tonight's pick in a minute.

If you liked this

Mad Max: Fury Road2015

Relentless, kinetic action in a hostile wasteland with a skeleton crew of humans fighting overwhelming odds. Both films treat their bizarre worlds as completely real and urgent, never winking at the camera.

But Fury Road is sleek and operatic; Bullets is intentionally trashy. If you want your dystopia beautiful rather than grotty, this won't scratch that itch.

The Return of the Living Dead1985

Cult horror-comedy that treats absurdity with dead-serious action beats, mixing genuine scares with gags that shouldn't work but do. Both films have that rare tone: funny and horrifying simultaneously.

But It's a 1985 zombie film, so practical effects look dated. The humor lands differently than modern comedy—it requires patience with '80s sensibilities.

Evil Dead II1987

Sam Raimi perfected the art of horror-action-comedy, never letting tone settle into comfort. Like Bullets, it trusts the audience to laugh at gore and be genuinely unsettled by it in the same breath.

But Very theatrical, very silly, and the low budget shows. If you need realism or subtlety, this isn't your lane.

Not sure tonight? Get a pick in a minute, starting from Bullets of Justice

The wildcard

Something you would not have found on your own.

Cannibal Holocaust1980

Both films use grotesque body imagery and transgressive violence not for spectacle but to ask: what have we become? Who deserves to survive?

A genuinely transgressive found-footage horror film that asks uncomfortable questions about civilization, savagery, and who the real monsters are. Bullets echoes its refusal to let the audience sit comfortably with violence.

But Extremely graphic animal violence (real, not simulated). Unwatchable for many. It's also 40 years old and approaches exploitation as documentary, which feels genuinely cruel rather than cathartic.

Starship Troopers1997

Paul Verhoeven's fascist-military satire wrapped in schlocky action and giant bugs. Both films use grotesque creature design and over-the-top violence to say something darker about power and dehumanization.

But Starship Troopers' satire can feel heavy-handed. The film is deliberately garish in a way that alienates viewers wanting subtlety.

Annihilation2018

Sci-fi horror that refuses to explain itself, presenting a genuinely alien threat that warps everything it touches. Like Bullets, it commits fully to body horror and doesn't soften the grotesque.

But Slow-burn mystery with minimal action. If you're coming for Bullets' relentless kinetic pace, this meditative approach will frustrate you.

Turbo Kid2015

Post-apocalyptic action-comedy that's aware it's ridiculous but treats its heart earnestly. Both films balance graphic violence with genuine affection for their weird worlds and characters.

But Indie production with uneven pacing. The tone shifts can feel jarring if you're not ready for sudden emotional sincerity amid the mayhem.

Mandy2018

Nicolas Winding Refn's hallucinogenic revenge film covered in practical gore and chromatic weirdness. Like Bullets, it's visually transgressive and refuses to be digestible or comfortable.

But Slow, hypnotic, and deliberately difficult to watch. It's an art film, not an action film; patience with mood is required over plot momentum.

Wyrmwood: Road of the Dead2014

Australian zombie film that treats its infected like a natural resource to be engineered and weaponized. Combines action, horror, and the same dark comedic desperation as human-pig super-soldiers.

But Low-budget Australian production with a different comedic sensibility. The humor can feel regional and the effects are rough around the edges.

Day of the Dead1985

Romero's zombie allegory features militarized undead being studied, trained, and exploited. The moral questions about using monsters as weapons echo through both films.

But It's talking-scene-heavy social commentary. If you want unrelenting action, Romero's pacing will feel glacial by modern standards.

Army of Darkness1992

Both treat their protagonist as a desperate everyman dropped into a nightmare logic and forced to keep shooting. Both have the same comedic violence vocabulary.

Bruce Campbell fighting literally everything with improvised weapons, one-liners, and genuine confusion. It's the blueprint for absurdist action-horror-comedy that takes its own stakes seriously while being completely unhinged.

But Feels dated in ways that matter—the CGI is rough, the tone can seem dated, and the plotting is deliberately chaotic. Some viewers find it more grating than fun.

Weasels Rip My Flesh1979

Both are small-budget films that weaponize biology against the human form. Both trust the viewer to sit with discomfort without explaining or justifying it.

Utterly obscure indie body-horror film about a man whose genetics unravel after a space accident. Like Bullets, it's grotesquely creative, low-budget, deeply committed to its own vision, and genuinely weird in ways mainstream cinema avoids.

But Barely exists—hard to find, minimal plot, experimental structure, and the effects are stomach-churning in a way that demands tolerance for body horror as its own form of storytelling.