The Furious

Grade: A-

I have to bring up The Simpsons again, for the second time in 11 days. After recently noting that Power Ballad was like the “Flaming Moe” episode, there’s a fight sequence in The Furious that I can only describe as a bicycle sword fight. It’s exactly what it sounds like. The “Hell’s Satans” episode of The Simpsons had an extremely similar bit, except it was motorcycles instead of bicycles. I have to wonder if this was an homage.

The Furious will ruin any future movies like it. It’s the gold standard – or, rather, the blood-red standard. Fighting is its primary form of communication, and it says so much in so few words – like Shakespeare. The Furious is the Shakespeare of kung fu and martial arts. Every punch, kick, and weapon strike advances character and story. Child trafficking is the plot point that sets the entire film in motion, giving the action real stakes beyond simple revenge or survival.

As the movie deals with a sensitive and unfortunately real topic, the location where it’s set is kept general: “somewhere in Southeast Asia,” so says a title card. They didn’t want to throw any specific place under the bus. It begins with a female reporter going missing while investigating the case. Her husband, played by Joe Taslim (from the Mortal Kombat franchise), is looking for her.

Meanwhile, a deaf-mute handyman played by Xie Miao has a young daughter who goes missing. One of the fight sequences is between Miao and Taslim before they realize they’re on the same side. There’s some comedy here, as the viewer hopes the misunderstanding gets cleared up before either one gets too hurt. Fortunately, it does, and they join forces before either man can do permanent damage. The movie is full of unexpected laughs in the midst of squirm-inducing moments, including one character who simply refuses to die. Every time he reappears, Miao and Taslim exchange increasingly baffled looks that practically ask, “How are you still walking around?”

Surprisingly, this isn’t the goriest movie I’ve seen this year. The heaviest acts of violence are often more implied than directly shown. The fact that I never found it unbearably intense allowed me to mentally step back and admire the spectacle. This is the most exciting fight choreography I have ever seen. These people have things done to them that, in real life, would take them down in a matter of seconds. In this heightened reality, however, they’re sliding between legs, stacking on top of one another, and turning literally anything within reach into a weapon.

The place where the kids are held is a cavernous maze of a warehouse known as the Snake Pit. That tracks, as multiple overhead shots look down at thick, black, entangled wires that resemble snakes. The cinematography is colorful. Roughly 75% of the dialogue is in English, but there are occasional moments of bad dubbing and obvious ADR. Whether intentional or not, it’s strangely endearing when it happens.

I assumed they’d save the resolution of the main plot point for the end, but it happens when there’s still 45 minutes to go. A sense of conscience, humanity, and duty sets in to go back for the others. They wouldn’t be able to live with themselves otherwise. The action leaves the Snake Pit, and the final sequences are set elsewhere.

I got so much more than just a great fight movie. When it does settle down for conversation and exposition, we get to know the characters. Hopes, dreams, and motives are shared. Disclosure Day is the most crowd-pleasing popcorn summer flick playing in theaters right now, but if you can handle something more intense, The Furious is a gift – made by an international melting pot of a creative team and served with raucous, frenetic love.

Grade: A-