The Furious, the newest martial arts action thriller, lives up to its title. An instant classic of the genre, the film will find a fitting home on the shelf of many an action fan next to The Raid or any classic-era Jackie Chan, Donnie Yen, Jet Li, or Bruce Lee films. Not a hyperbolic statement, one must see to believe and be converted to the church of The Furious. A film whose final thirty minutes will find audiences’ jaws on the floor before the film continually kicks it out of its socket.
Director Kenji Tanigaki previously worked as a stunt performer, eventually graduating to choreography and working with Donnie Yen as his action director on entries like Raging Fire and Sakra. Like Stunt Performer turned Director Chad Saleski, who charted a similar career, Tanigaki’s work as a performer begat one of the most audacious action filmmaking debuts of recent memory. The Furious, like the best martial arts films, gives us a story that is surprisingly emotional and propulsive, giving us characters we care about and a ticking clock narrative to race with.
Screenwriters Mak Tin-shu, Lei Zhilong, Shum Kwan-sin, and Frank Hui smartly construct a dueling narrative where heroes Wang Wei’s (Xie Miao in a purely physical performance, you’ll see what I mean) and Navin (Joe Taslim, who continues to prove to be a huge asset for any film since his debut in The Raid) make an uneasy alliance. The way they approach trying to find Wei’s kidnapped daughter is as much drama as the fight scenes themselves. Part of the beauty of the film isn’t just the amazing choreography but the filmmaker’s ability to craft a story that seamlessly blends emotion, story, and action into a cohesive, thrilling package.
Though what separates The Furious even from some of the best action films of recent memory is its action. Tanigaki’s stunt team, led by action director Kensuke Sonomura, creates unforgettable action scenes that culminate in a finale that few action films can compete with. Sonomura has been making a name for himself with Japanese action films like Bad City, Ghost Killer, and Hydra, but the work here is a step above even those films.
There is an artistry here that goes beyond simple set pieces. A spectacle of the human form that defies logic, that one cannot help but laugh at the sheer genius of. Sonomura and the stunt team work in tandem with Tanigaki create not just repetitive action scenes, but each action movement presents new challenges and obstacles that our heroes face and must overcome. Each set piece is a dare that the filmmaking team doesn’t just successfully mount but pulls off with the sort of dizzying style that only masters of the genre are able to do.
Part of the thrill of The Furious is in the rush one gets from the expertly crafted action set pieces. The other part is in finding the rarest of finds… a new classic of the genre.
The Furious is a new martial arts action Classic.
The Furious, the newest martial arts action thriller, lives up to its title. An instant classic of the genre, the film will find a fitting home on the shelf of many an action fan next to The Raid or any classic-era Jackie Chan, Donnie Yen, Jet Li, or Bruce Lee films. Not a hyperbolic statement, one must see to believe and be converted to the church of The Furious. A film whose final thirty minutes will find audiences’ jaws on the floor before the film continually kicks it out of its socket.
Director Kenji Tanigaki previously worked as a stunt performer, eventually graduating to choreography and working with Donnie Yen as his action director on entries like Raging Fire and Sakra. Like Stunt Performer turned Director Chad Saleski, who charted a similar career, Tanigaki’s work as a performer begat one of the most audacious action filmmaking debuts of recent memory. The Furious, like the best martial arts films, gives us a story that is surprisingly emotional and propulsive, giving us characters we care about and a ticking clock narrative to race with.
Screenwriters Mak Tin-shu, Lei Zhilong, Shum Kwan-sin, and Frank Hui smartly construct a dueling narrative where heroes Wang Wei’s (Xie Miao in a purely physical performance, you’ll see what I mean) and Navin (Joe Taslim, who continues to prove to be a huge asset for any film since his debut in The Raid) make an uneasy alliance. The way they approach trying to find Wei’s kidnapped daughter is as much drama as the fight scenes themselves. Part of the beauty of the film isn’t just the amazing choreography but the filmmaker’s ability to craft a story that seamlessly blends emotion, story, and action into a cohesive, thrilling package.
Though what separates The Furious even from some of the best action films of recent memory is its action. Tanigaki’s stunt team, led by action director Kensuke Sonomura, creates unforgettable action scenes that culminate in a finale that few action films can compete with. Sonomura has been making a name for himself with Japanese action films like Bad City, Ghost Killer, and Hydra, but the work here is a step above even those films.
There is an artistry here that goes beyond simple set pieces. A spectacle of the human form that defies logic, that one cannot help but laugh at the sheer genius of. Sonomura and the stunt team work in tandem with Tanigaki create not just repetitive action scenes, but each action movement presents new challenges and obstacles that our heroes face and must overcome. Each set piece is a dare that the filmmaking team doesn’t just successfully mount but pulls off with the sort of dizzying style that only masters of the genre are able to do.
Part of the thrill of The Furious is in the rush one gets from the expertly crafted action set pieces. The other part is in finding the rarest of finds… a new classic of the genre.
The Furious is only in theaters on June 12th
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