When the first movie of this increasingly ridiculous saga began, Mr. Now that Mr.
Two people—or maybe a whole bunch of people—walk into an elevator. Only one leaves.
As a location, the elevator is perfect for combat: Contained, claustrophobic, impossible to escape. Each make their movies better. Adkins is playing Cain, a horribly scarred and impossibly tough British convict.
But a second later, when the elevator dings open again, we just see Adkins walk out. The camera pans back, and all the guards are unconscious on the ground. In a series of flashbacks, we see nasty prison brawl after nasty prison brawl.
A film like Avengement knows what its audience wants. Advertisement In the weird little world of no-budget direct-to-streaming action movies, Adkins is an A-lister.
In these films, Adkins glowers and poses and then does breathtakingly choreographed flipping, spinning, flying fight scenes. He is an absolute blast to watch. Adkins has now made five movies with Avengement director Jesse V.
Johnson is also a stuntman, and he understands exactly why how bare and merciless Scott Adkins movie should be.
Johnson cast Adkins as the villain, because only Scott Adkins could be a believable enemy to all three of these guys; only Scott Adkins could convince you that all three of them could lose.
Aside from a select few franchises the American studio action movie has all but disappeared, usurped by CGI superhero spectacles. A few months ago, the third installment of one of those aforementioned franchises, John Wick: Chapter 3 — Parabellum , hit theaters to general pandemonium.
This was the absurd and sublime action movie that the world had been waiting for: The knife-alley eye-stabbing!
The horse kicks to the face! The dog attacks! John Wick auteur Chad Stahelski another stuntman-turned-director knows this. The John Wick movies are full of references to low-budget action-cinema classics.
The villain of Parabellum is played by Mark Dacascos, a guy who has been starring in B-movies, great and terrible, for decades.
And one of the best scenes in Parabellum—a combination motorcycle chase and swordfight—is a direct homage to a similar scene in The Villainess, a great film from South Korea. Advertisement One of the great things about the action-cinema landscape right now is that all these movies are influencing each other, picking up tricks and giving them out.
Take, for example, Furie, a gnarly new movie from Vietnam that recently hit streaming services. But Furie does something different with those influences.
Furie tells the story of Hai Phuong, a single mother and ex-gangster trying to raise her daughter by working as a debt collector in rural Vietnam.
One day, her daughter is kidnapped by organ-harvesting human traffickers—basically the most evil human beings imaginable. The kid gets put on a train with a bunch of other doomed kids, and Hai Phuong has to save all of them before they get chopped up into tiny pieces.
So she stabs and kicks and chokes her way through the Saigon underworld, willing to throw herself into blood-spattering brawls with anyone who might know anything about her daughter. Furie, unlike the John Wick movies, has real stakes, and it seems disturbingly plausible. Veronica Ngo, the actress who you might recognize as the heroic self-sacrificing bomber from the beginning of Star Wars: The Last Jedi, plays Hai Phuong as a deliriously protective and desperate mother bear, not as some mythic avatar of badassery.
But like Parabellum or Avengement, Furie takes clear joy in its basic and satisfying action-flick setups. Advertisement If you dig around a little bit, streaming services are full of nasty little delights like Avengement and Furie.
Maybe, in a couple of years, Keanu Reeves will quietly leave an elevator, and the camera will pan back to show a half-dozen dead henchmen behind him.
Share This Story.