Film Critique – The Furious (2025)

      The Furious, 2025.

      Directed by Kenji Tanigaki.

      Featuring Xie Miao, Joe Taslim, Yang Enyou, Yayan Ruhian, JeeJa Yanin, Brian Le, Joey Iwanaga, Sahajak Boonthanakit, Manatsanun Panlertwongskul, Kittiphoom Wongpentak, Winai Wiangyangkung, Guo Junqing, Marut Charoensub, Sonny Chatwiriyachai, Chayanith Riddhimat, Tanapol Chuksrida, and Kittiphoom Wongpentak.

      **SYNOPSIS:**

      After Wang Wei's daughter is abducted by a criminal organization and the corrupt police offer no assistance, he embarks on a relentless quest to rescue her. His only companion is Navin, a determined journalist whose wife has also mysteriously vanished. Driven by a fierce desire for vengeance, this unlikely pair brutally confronts the kidnappers in a dramatic martial arts clash.

      In Southeast Asia, Navin (Joe Taslim) goes undercover, pretending to be interested in purchasing children from traffickers, all while trying to discover the fate of his wife Matia (JeeJa Yanin), who disappeared after investigating a major case. Meanwhile, mute Wang Wei (Xie Miao) is on the trail of the same group for kidnapping his daughter Rainy (Yang Enyou) right after a heated exchange with her about moving back to China, where she was lured into a dangerous situation by a child coerced to solicit help. In Kenji Tanigaki’s The Furious (based on a script by Shum Kwan-Sin, Frank Hui, Mak Tin-Shu, and Lei Zhilong), their paths are destined to converge as they aim to dismantle the criminal syndicate.

      While the narrative follows a familiar template and minor characters seem inexperienced, it excels in relentless martial arts action, cleverly adjusting the dynamics of villains to progress the plot. The Furious is a captivating experience and arguably one of the finest action films of the past 15 years.

      This film takes its serious subject matter seriously, unflinchingly placing children in perilous situations (in one instance, Rainy is dangled upside down from a moving truck) but skillfully avoids reducing these moments to mere exploitation. The children eventually contribute to the chaos in clever and at times violent ways, enriching the story with themes of forgiveness, empathy, and found family. No one is truly safe within this narrative, amplifying the already intense adrenaline—viewers might feel as if every ticket should come with a heart-attack warning.

      Much of the action revolves around Wang Wei and Navin as they traverse various locations, relentlessly fighting henchmen to climb up the criminal hierarchy, resulting in electric and chaotic brawls that defy logic and physicality despite the real stunts performed by real people. As a fight choreographer and experienced director of action films, Kenji Tanigaki understands that desperation is a powerful element to create emotional resonance in a fight, whether against one adversary or a hundred.

      The film commits fully to the resilience and determination of its characters, with the only break in one of the thrilling multi-layered sequences occurring when one of them is hit by a car—yet they continue forward. The urgency is palpable in The Furious, which keeps viewers engaged and ready to charge through obstacles alongside the characters to save their loved ones (not a spoiler, though it wouldn’t be surprising if it happened).

      Expertly captured by cinematographer Meteor Cheung, each fight scene is breathtaking and features an array of MMA-style moves, including takedowns, submissions, and brutal exchanges that often see characters defy gravity, delivering strikes while airborne. Henchmen become makeshift towers as Wang Wei and Navin utilize their bodies as platforms and punching bags, exploiting their surroundings to maximum effect with wooden planks and ladders as weapons in combat. Thunder is timed perfectly with the chaotic action during the climatic showdown involving several characters, including scenes where a motorcycle driver captures the mayhem on camera, crashing into a stunt performer while chaos unfolds. At one point, a deranged character enters the fray, not only shooting with a bow-and-arrow but also wielding it in close-quarters combat like a sword.

      Truly, the action sequences are praiseworthy; the opening battle and the initial kidnapping chase are exhilarating, overshadowing most modern action productions. It’s akin to The Raid on steroids, a concept that seems improbable yet is realized here. However, amidst the relentless excitement, each action sequence incorporates subtle character moments that intensify the drama, such as Wang Wei and Navin being so consumed by rage at one point that they need to restrain each other to stay focused on their mission. Though technically victims, the children are portrayed with intelligence and solidarity, opting for unity over resentment. The