I can't help thinking that if I was Gareth Evans, I'd be a little upset with Netflix. Just one week after the streaming giant released Evans' cult-themed horror Apostle, they have put out a movie transparently based on his own Raid series. It's hard not to suspect that the timing of The Night Comes For Us is designed at least partly to capitalise on the segment of Evans' fanbase who are disappointed that he chose not to make The Raid 3 (myself included).
While Timo Tjahjanto is a capable director in his own right, with his own ideas, the similarity of The Night Comes For Us to Evans' own movies is very striking. It's not just the presence of series acting veterans Joe Taslim, Iko Uwais, Julie Estelle and Zack Lee - much of the visual style, plotting, and (limited) characterisation is very much in the same vein. While Joe Taslim is our antihero here, and Iko Uwais an antagonist with limited screen time, this is to all intents and purposes an unofficial The Raid 3.
A master of Wing Chun has soundly defeated ten Japanese karatekas, who lie broken and groaning around him. General Miura, the organiser of this bout, demands to know the victorious fighter's name. After a pause, he answers: "I am only a Chinese".
At this point in Wilson Yip's film, Ip Man truly becomes a new folk hero. Once privileged and aloof, Ip has been transformed by the Japanese occupation of his country into a selfless protector of his people. Donnie Yen's performance as Ip reflects this change even in the way that he fights: a newfound sense of political commitment and righteous anger seems to pervade every strike.
When Walter Hill made The Driver, he felt that the time was right for its spare, minimalist approach - for something "more than, or perhaps less than, an action film." In fact, it arrived too soon. It was savaged by critics and proved a financial failure. Had Hill's next project not already entered production, The Driver might have prematurely ended his career.
Like that next project - The Warriors (1979) - The Driver has become a cult favourite. What critic Kevin Thomas of the Los Angeles Times saw as a "bad imitation" of European and American noir is now recognised as an inspired extension of those movies. Far from being "ultraviolent trash", its superb car chases are electrifying even for the '70s, the golden era of the form.
John Woo's first Hollywood film was only a modest success. In 1993 Hong Kong's master of ballistic action was little-known in the west, and Hard Target didn't take off in the way it deserved to. To really make it with American audiences, Woo needed to make American movies - and that meant blowing up some helicopters.
The exploding helicopter is one of the images synonymous with action cinema in the west. By the '80s a helicopter's very purpose in an action film was to explode. On a poster or in a trailer, an exploding helicopter is almost the ultimate visual shorthand for excitement. Even on The A-Team, a show where no-one could ever die, a chopper had to be taken out from time to time - its crew inexplicably climbing unscathed from the wreckage.
Guardians of the Galaxy Vol. 2 (2017) [IMDB]
Directed by James Gunn
Starring Chris Pratt, Zoe Saldana, Dave Bautista, Kurt Russell
The team of misfits that form a comic tangent to the Marvel Cinematic Universe get a second run-out in James Gunn's Guardians of the Galaxy Vol. 2. While the CGI action is more numbing than exciting, this spacefaring sequel has charm and wit to spare.
By 2014, the MCU was well-established and lucrative but in danger of becoming stale. Guardians of the Galaxy felt fresh, deftly introducing a new team of eccentric heroes without the years of buildup the Avengers had required. Better yet, Starlord and his crew were shown to exist in relative isolation from the rest of Marvel's universe, offering a degree of freedom from the straitjacket of continuity.
John Wick: Chapter 2 (2017)
Directed by Chad Stahelski
Starring Keanu Reeves, Riccardo Scamarcio, Common, Ian McShane
Free up a chair at the High Table of modern action films - John Wick: Chapter 2 has arrived and it is glorious.
There's been a clear trend in action films during the last several years: the number of films that fit squarely in the genre is quite small, and mediocre efforts outnumber the accomplished ones. Once or twice a year, however, a film is produced which immediately enters the pantheon of true greats. With their directorial debut John Wick, Chad Stahelski and David Leitch did exactly this in 2014. Combining their vast action design and second-unit experience with the total commitment of star Keanu Reeves, they forged one of the most exciting American action films of the decade.
Directing alone this time, Stahelski has gone and done it again. Chapter 2 is a blistering continuation and expansion of everything that made the original so intoxicating - the unique fictional underworld, the beautiful cinematography, Reeves' performance as "the man, the myth, the legend" that is John Wick and of course the astonishing action sequences. The sequel reaches a level of intensity and accomplishment in action cinema that, in recent years, is matched only by the likes of The Raid 2 and Mad Max: Fury Road.
The nominations for the 2017 Oscars were unveiled today. While the 24 categories cover most creative and technical aspects of film-making, there's a conspicuous lack of recognition for stunt co-ordination, choreography, and performance.
Of course, like the domination of La La Land in this year's list, this is no surprise. The Academy's resistance to recognising the men and women who bring action to the screen is stubborn and longstanding. Stunts and action sequences have thrilled audiences almost since the dawn of cinema, but the Academy has never seen fit to reward those who make this possible, even at the risk of life and limb.
The Oscar-nominated Steven Seagal vehicle Under Siege hit screens in October 1992. A significant hit, it opened the floodgates for a wave of films which attempted to recreate the magic of John McTiernan's Die Hard, Suddenly, four years after the release of the Bruce Willis classic, every studio was putting a relatable everyman (or sometimes Steven Seagal) up against armed terrorists within a relatively confined space: a ship, a train, an airliner.
Even today, the "Die Hard scenario" remains popular and the films which attempt this approach form an intriguing subgenre. Surprisingly, though, there is one film which very successfully copied the format of Die Hard which isn't too often discussed - and that's the film's very own sequel, Renny Harlin's Die Hard 2.
Recently I've really been getting into Italian crime fiction in a big way. I began by reading Roberto Saviano's amazing and chilling non-fiction book Gomorrah, then sought out the equally superb TV series. Last night, I watched Suburra, a 2015 crime epic directed by Stefano Sollima, one of Gomorrah's three directors.
Like the TV series, Suburra is an intensely detailed and bleak account of systemic criminal corruption in Italy. As opposed to Naples, where Gomorrah takes place, Suburra is set in Rome - meaning that senior politicians, the Roman mob, and even the Pope are implicated in all the seedy events that take place. It's brilliant, harrowing stuff driven by a great script and a fine ensemble cast. It's quite labyrinthine, so I decided to create this chart showing just some of the complex relationships. You can download a PDF copy below.
Stefano Sollima is the son of Sergio Sollima (1921 - 2015), director of three of the best Italian western films ever made. Right now he's working on Soldado, the sequel to Denis Villeneuve's 2015 film Sicario, which was also a favourite of mine - it's in safe hands. Suburra is also being made into a Netflix series - so there's plenty more Italian crime goodness still to come.
Lethal Weapon may not have launche the buddy-cop genre as such - Walter Hill's 48 Hrs. (1982) was just one of its antecedents - but it definitely helped to cement and popularise this enduringly popular idea. Played by Mel Gibson and Danny Glover respectively, Martin Riggs and Roger Murtaugh are now the archetypal buddy cops. They reunited for three sequels up until 1998, were parodied in Loaded Weapon 1 (1993), and have been re-imagined and re-cast for a 2016 TV series.
Besides launching the franchise and boosting the buddy-cop subgenre, Lethal Weapon was a trendsetting film for a number of other reasons. It launched Mel Gibson's career in the US, turned Shane Black into a screenwriting superstar, and is even a milestone in the use of martial arts sequences in American action films. The film's commercial success and continued influence are clear enough, but were the product of a very specific set of ingredients combined together by veteran director Donner.