The Furious

Often, when I watch a movie, what’s happening on the screen isn’t the only thing affecting my experience. For me, it’s everything surrounding it, and the biggest factor—other than the movie itself—is the crowd. Recently, I watched a comedy in a packed theater, and let me tell you, my lack of laughs wasn’t helped by the fact that the audience seemed to feel exactly the same way. Crowds can make movies funnier, scarier, and more exciting. That’s the magic of the theatrical experience. And with that in mind, if you decide to see Kenji Tanigaki’s new film The Furious. See it with as many people as possible.

As a movie on its own, The Furious is like plain popcorn. Sure, it’s good. But add melted butter to it—that butter being a packed crowd—and suddenly you’ve got something special. Wang Wei (Miao Xie) is a quiet man who makes a living as a handyman. He doesn’t speak, a result of a head injury he suffered years ago, though the film lets you to piece together exactly what happened. Wang is also raising his daughter, who is spending the summer with him and often accompanies him to work.

One day, after an argument, she storms off and is kidnapped by a group involved in a child trafficking operation. Wang nearly stops them and manages to gather enough information to take to the police, but bureaucracy, red tape, and corruption push his case to the back burner. At the same time, a man named Navin is searching for his missing wife, a reporter who disappeared while investigating something dangerous. Eventually, Wang and Navin’s paths cross. After a brief misunderstanding, the two realize they’re chasing the same people and join forces, taking on anyone and everyone standing between them and the people they love.

Written by Frank Hui, Zhilong Lei, Tin Shu Mak, Aidan Parker, and Kwan-Sin Shum, the screenplay is probably the weakest part of The Furious. The dialogue can be clunky, and the plot occasionally borders on goofy. But honestly, that’s not why you’re here. The story is really just a vehicle to get us where we need to go, and once it gets there, The Furious absolutely unleashes.

Roughly three-quarters of the runtime is made up of action sequences, and they are spectacular. The fight choreography is sharp, inventive, and beautifully shot. Long, uninterrupted takes allow the performers and stunt team to show off their skills, and the camera moves with a confidence that lets every punch, kick, and throw land, and land hard. Watching these sequences feels like poetry in motion, with actors and camera operators moving in perfect harmony. For action fans, it’s chef’s kiss.

For me, the holy trinity of action films over the last twenty years has been The Raid, The Raid 2, and The Night Comes for Us. The Furious deserves to be mentioned in the same conversation. It’s loud, brutal, and packed with adrenaline, once again proving that some of the best action filmmaking in the world is coming out of Asia.

The speed and precision of the fight choreography are incredible, and every hit feels impactful. Even when the story stumbles, the relentless pace and energy breathe life into the weaker moments. The Furious feels like a refreshing reminder of just how exciting action movies can be when they’re made by people who truly understand the craft.

In the end, The Furious is a nonstop thrill ride filled with bone-crunching fights and relentless entertainment. If you’re a fan of martial arts films or action cinema in general, this is one you absolutely should not miss.

Brian Taylor

Member of the North Texas Film Critics Association, and lover of all things Cinema