With the beginning of summer comes not only heat, but also, this year specifically, the final analysis of our project on summing up the results of action films for 2022.
For some reason, many people are waiting for an analysis of the best on-screen battles, which means our readers are interested in this. And is it important! In general, as always, we are very happy to receive comments and your discussions about this.
Winners in the vote
Scott Adkins vs. Andy Long (Casualty 2) (16%, 22 votes)
Directors: Scott Adkins, Andy Long, George Kirby, Tim Man.
Location: abandoned or under construction house. One of the most common locations for action heroes to settle scores, especially if there is scaffolding in the frame. All the main members of the Triple Threat, including Adkins himself, fought in an abandoned house. Gary Daniels and Darren Shahlavi clash in the final battle of “Blood Moon” in a building under construction with scaffolding in the background.
Style: a mixture of classic “Timman style” and modern tricking
Scene duration: 3 minutes 40 seconds of pure combat
Number of participants: one on one
Main feature: collision of tired Adkins with a nimble and swift enemy
Features and specifics: despite the fact that the Adkins VS Long fight is a modern screen fight with the participation of fighters of a new generation, this primarily concerns Andy Long, it bears clear features of old school and traditional genre schemes. Take a closer look:
Firstly, this is a classic final battle with differences in style between the opponents and the difference in their size, although not as noticeable as it was in the 80s and 90s.
Secondly, a painfully familiar principle, when the main character loses the first half of the battle, but then, with the help of a second wind and a strong-willed look, breaks the tide of the battle and defeats the enemy.
Thirdly, the clothes used as weapons, the iconic location, which we already wrote about above, the dyed hair of the villain (oh, how many times have we seen yellow and white-haired villains in old fighting games) - all these are just textbook elements.
And even the beginning of the battle, when the heroine Sarah Chan thoughtlessly rushes at the villain and is knocked out by one of his blows, as if he came out of action films of yesteryear, primarily Hong Kong ones.
You, of course, remember the on-screen battles Scott Adkins in his prime? For example, the same "American Special Forces" or the second part "Undeniable", where the Briton fluttered over his opponents in complete dominance? In the final battle of "Accident 2" the situation is exactly the opposite, and Adkins becomes, if not a whipping boy, then at least a veteran trying to jump into the rapidly receding last carriage. Of course, it’s not “Smurenburgism” yet, but the breeze is starting to blow from the other side. In this respect, the battle resembles a clash Bradley Allan и Jackie Chan from the movie "Fabulous".
On the other hand, such a “slow Scott” also has its advantages - his movements are readable and understandable, as opposed to Andy Long, which, overcoming the laws of attraction, flickers too much in a frenzied and non-stop tricking. Tricking is certainly a beautiful thing, but you also need to know when to stop. It is clear that in addition to the years that are taking their toll, there is also Scott’s desire to show the viewer Andy’s capabilities and reveal his strengths to the maximum, which is perhaps why the victory of the leading character was achieved with outside help in order to hide its unconvincingness.
Of the obvious advantages of the fight, it is worth noting the camera work with clear long shots and sharp changes in perspective, again reminiscent of a mixture of a modern approach and the golden era of Hong Kong action films.
The main disadvantages of the battle: it is clearly visible that Scott cannot keep up with Andy - compared to Long's speed and lightness, the Briton's punches seem heavy and slow. The ending of the battle leaves the viewer with nothing - there is simply no final blow that destroys the antagonist, because the main villain is quickly killed by a suddenly appearing hero Ray Stevenson.
The bottom line: a full-fledged final battle that pays tribute to all genre traditions.
Ma Dong-seok vs. Song Seok-gu (Crime City 2) (14%, 19 Votes)
Stage DirectorsStars: Daniel Kwanghwi Choi, Ma Dong-seok
Location: city bus. It is curious that in recent years the bus has often become the site of combat battles: Bob Odenkirk punished gopniks in “Nobody”, and Simu Liu fought off mercenaries in “Shang-Chi”. Action directors have been very fond of this location before - remember the first “Transporter” with Jason Statham or “The Specialist” with Sylvester Stallone.
Style: South Korean neorealism
Scene duration: 4:05 with conversations
Number of participants: one on one
Main feature: the final battle, to which the entire film was emotionally leading up
Features and specifics: The action directors of the film, which includes the titular star of the action film, were faced with the task of, if not outdoing the final showdown in the toilet from the first film, then certainly not making it worse. On the one hand, both fights are similar in rhythmic pattern: calm as a mountain, Dong-seok defends himself from an aggressive and furious opponent, avoiding his blows, sometimes blocking them and responding with single boxing blows to the opponent’s face and body; during the fight, damage is also caused to the location in which the battle takes place. On the other hand, if in the final confrontation of the first film the main character received damage and this affected the course of the battle, in the battle with Song Seok-gu the protagonist easily survives cuts and injections without paying almost any attention to them.
When filming a fight, a walking camera is used and, along with regular editing, there are several splices, giving the viewer the opportunity to enjoy the effect of a single frame/take. The camera “looks out” from the bus along with the main villain when Dong-seok breaks the window with his head - this is an interesting and modern solution. In order to win, the hero Seok-gu uses the seats and handrails of the bus, and having flown out of public transport onto the roadway from Dong-seok’s powerful kick, the villain does not give up and attacks with car wipers. In general, as far as interaction with the outside world is concerned, there is complete order here.
In general, this is the South Korean style that is already familiar to us in filming a realistic fighting game, tense, contact-based and not polished in a good way, in which there is no feeling of sparring or excessive staging.
The main disadvantages of the battle: for the hero Ma Dong-seok don't worry, because... neither the machete, nor the knife, nor the fists of his opponent can cause him noticeable harm, the character’s balls are too steely. Yes, the inspector’s chest and shoulder are slashed with a sharp edge, and a knife is stuck into his leg, but this has absolutely no effect on the protagonist’s movements, and the action begins to recoil Steven Seagal, which blurs the impression of the fight. The belt disappears from the protagonist’s fist very unnoticed.
The bottom line: a strong fight, well integrated into the location, which, however, clearly lacks the emotional involvement of the viewer.
Scott Adkins vs. Zara Pitian (Casualty 2) (13%, 17 Votes)
Directors: Scott Adkins, Andy Long, George Kirby, Tim Man
Location: nightclub and kitchen. In the nightclub, Wesley Snipes mowed down vampires in batches in “Blade,” and Keanu Reeves mowed down mercenaries in “John Wicks.” Throughout the history of the genre, many stars of hand-to-hand action films have let loose in the kitchen, for example, Jean-Claude Van Damme in “Sudden Death” or Steven Seagal in the second part of “The Siege.”
Style: classic “Timmanism”
Scene duration: 4 minutes of pure fighting game
Number of participants: one on one
Main feature: Several fighting styles within one fight, Adkins' character must not only fight, but also protect the character of George Foracres.
Features and specifics: despite the fact that Tim Man worked on local choreography only at the very beginning of the production process, it seems that this fight belongs entirely to him - the fight seems so “classical” in this regard.
Since both actors have a main base in BI - taekwondo, legs are actively used in the fight, but the fight itself begins with gun fu, moving on to knife fighting. Behind Zara Pitian exclusively an attack, we would even say pressure, because according to the plot, her heroine needs not so much to deal with the main character, but to get to the character Foracres and deal with him. This leads to several funny moments when the fighting game is paused due to Pitian's attempts to somehow get at the mafia son or because of the latter's futile attempts to help his bodyguard.
If we exclude the above-mentioned comedy sketches, then the fight itself is dense in its structure and full of active hand-to-hand combat, since for Adkins the opponent in the person of Zara became very convenient and suitable. Therefore, despite the acceleration of some blows, it is clearly visible that the fighters perfectly feel each other in timing and distance, and long takes, appropriate editing and a camera that follows the movements of the opponents help to consider everything in detail. But for some reason, the signature guyver kick was removed and edited as God pleases: did no one care, or did old Scott not make more attempts?
You cannot ignore the concept of the fight itself - in their confrontation, the heroes go from point A to point B. You will have to fight not only in the nightclub itself and its kitchen, but also in the three corridors connecting them. Hand on heart, it’s not a common concept in action movies, but it’s an interesting battle concept that definitely makes this fight stand out from the rest. Well Scott Adknis with a knife for peeling potatoes - this is truly an epic wine!
The main disadvantages of the battle: Throughout the entire fight, the opponents “mirror” each other, responding by exchanging monotonous blows and stylistically are almost indistinguishable. The only exception is an unexpected guy kick from Adkins, which was screwed up by the cameraman and editor. The acceleration of blows is too noticeable to add dynamics to the battle. For some, this may seem like a feature or an additional artistic device, but it seems to us that the speed drop in the original take could have been hidden in some other way. Ridiculous effects of blood and gunshots, and the directors also got carried away with the walking camera, which at some point makes you feel motion sick.
The bottom line: a fight with classic choreography with an emphasis on kicking, which is interesting not only because of Adkins’s out-of-the-box guyver kick and the effect of “equal strength” among opponents, but also because of good comedic elements.
Editor's Choice
Saori Izawa vs. Masanori Mimoto (Killer Kids) (8%, 11 Votes)
Directors: Kensuke Sonomura
Location: an abandoned or under construction room is the best option for hand-to-hand and shooting showdowns when you have difficulties with the budget, so almost all the stars of fighting games fought in this location: from Lauren Avedon in “Fighting Spirit”, to the ubiquitous Adkins and Lundgren in “Castle Falls” .
Style: modern Japanese choreography
Scene duration: 3.39
Number of participants: one on one
Main feature: Teen girl fights against a grown man
Features and specifics: fight choreography in “Killer Kids” stylistically noticeably different from the Chinese, Indonesian or Hollywood ones that are already familiar to us, and this is precisely its main specificity. There are unconditional overlaps with South Korean films, since the influence of the latter on modern Japanese culture is very great, there are common techniques, but in general the fighting game is from Kensuke Sonomura very Japanese and original.
The fight begins with gun-fu, it’s not for nothing that we mentioned the cliches above, but the constant alternation of action in the stand and on the ground, as well as the rapid camera work, emphasizing the dynamics of the battle with circular angles, make this part of the fight very interesting, although it is clear that he is aiming and shooting Saori Izawa into emptiness.
After the heroine loses her weapon, the battle becomes completely hand-to-hand, and the main highlight of this part is the counterattacking style of the main character and her unusual ability to evade the enemy's blows. Yes, it's clear that Masanori Mimoto deliberately punches past with half-clenched fists, but in the turmoil of an adrenaline battle this impression is smoothed out. And again, we note the camera work, which, despite a slight shaking, conveys the atmosphere well, and the editing cuts are quite rare and create a slight effect of a long take. Towards the end we see one climactic rapid strike that takes us back to classic fighting games.
The ending of the fight may disappoint the viewer who is waiting for a fatal blow or an epic resurrection of the heroine from the ashes, but it seems to us that a pistol shot is a logical end, because the tired principle of a fragile girl defeating a man with her fists would seem inappropriate to us in this particular fight .
The main disadvantages of the battle: fussiness and non-contact, primarily due to the way opponents throw punches, as if they were kicking dust out of each other or grabbing annoying mosquitoes, rather than trying to knock out the enemy.
The bottom line: an interesting fight, more reminiscent of a concept than a finished implementation, which gives us hand-to-hand combat choreography from the Japanese, which is rare in recent times.
Jang Hyuk vs. Bruce Han (Killer Guardian) (7%, 10 Votes)
Directors: Chan Hyuk, Bruce Han
Location: country mansion. A great place to emphasize the style of a painting or create a cinematic “luxury” effect. Koreans have repeatedly used this technique in action films, one of the last ones that comes to mind is “The Elusive Man.” And from the classics of combat cinema, the legendary “Snack on Wheels” comes to mind.
Style: Gun Fu and South Korean Neorealism
Scene duration: 3:15 pure fighting game
Number of participants: one on one
Main feature: several styles in one fight - gun fu, knife fighting and hand-to-hand combat.
Features and specifics: If other South Korean fighting scenes, including those presented in this category, are maintained in the aesthetics of realism, a kind of naturalistic “choreography without choreography”, then in a fight from "Killer's Guardian" on the contrary, it feels staged. The scene opens with a shootout in which accuracy is clearly not the same as talent, and the characters slide towards each other over broken glass with virgin knees intact. Having closed the distance, the opponents begin to prove to themselves and the audience whose gun fu is better, which in turn is presented in rather long takes with good camera work and editing, designed to kill two birds with one stone: to show both characters in all their glory and carefully hide the doubles Bruce Khan.
Chan Hyuk, I must admit, does everything on his own, but, firstly, he is much younger than his partner, and secondly, he has much fewer acrobatic and stunt tricks specifically in this fight. A pistol duel ends with a duel of glances and smoothly flows into a knife fight, which seems more interesting to us due to the high dynamics and naturalness of movements. And we must give credit to the actors - they act one hundred percent, despite the fact that the main character is still emotionally frozen. At the climax, the characters begin to test their heads for strength and break bottles of alcohol against each other, which looks like a rather controversial decision, as if the directors had run out of ideas, although we understand that it all looks very “Korean”: brutal and on a grand scale.
The finale of the fight contains references to films Bruce Lee, and to the classic scenes of the villain flying from a height into the pool (car, abyss, hellish heat, underline as appropriate).
The main disadvantages of the battle: endless ammo a la movies John Woo, a certain obsession of the characters with gun fu and the desire to smash the contents of the bar over each other’s heads. From Bruce Khan I would like to see more hand-to-hand combat rather than gunfights.
The bottom line: not a bad fighting scene, filmed in a beautiful location, in which there is no outstanding choreography, but there is a feeling of a full-fledged final battle, since the viewer was prepared and brought to it in small portions throughout the film.
Park So-dam vs. Kidnappers (Special Delivery) (0%, 0 Votes)
Directors: Choi Seon-gyeom
Location: workshop. Not a frequent location, but from time to time it appears in action films. For example, Mark Dacascos in “Drive” and “Only the Strong” and Theo Garcia in “Extremo” fought in the auto repair shop; in addition, Jackie Chan, Jeff Wincott, Alban Lenoir and many others sorted things out in the workshops.
Style: South Korean neorealism
Scene duration: 3.45
Number of participants: one against the crowd
Main feature: a fragile girl fights against a crowd of men using improvised means
Features and specifics: action scene, and we will evaluate it from this position, in concept and execution it is more similar to the winners in this category for 2021 and 2020 - fight on the bus from “Nobody” и fight in a pub from “Gangs of London”. In all of these examples, the emphasis is not on pure choreography, but on character interaction, stunt work and camera work.
The battle begins with classic “stealth”, when the heroine Park So-dam Using a screwdriver, he disables the villains one by one in the dark. Then the intense tempo of the fight begins, accompanied by a cheerful and even funny track: the gangsters attack the heroine, beating her with their arms and legs, trying to strangle her and kill her in every possible way, but the girl uses various tools that come to hand to bloodily deal with her offenders. All this is presented as turmoil - the scene is filled with aggression in the dim light of the evening lamp outside the windows, the ragged editing enhances the effect of tension, but there was a place in the scene for several dashing, well-executed and filmed stunt tricks. With their help, accents are placed and sets of certain moments of the scene are cut off from others.
This style of staging a fighting game, let’s call it again “fight choreography without choreography,” is good because while watching you don’t think about how it was done and filmed, you don’t analyze the fighting styles of the participants and don’t dissect the camera work, but are completely immersed in the action , you focus on empathy for the heroine, becoming, as it were, an invisible participant in the events. This effect is facilitated by the lack of gloss and a seemingly carefully calibrated frame; moreover, all the characters are presented to us as ordinary people without super-fighting abilities. This well-thought-out chaos and organized turmoil creates a realism of action that very few modern action films, even of the top level, can boast of.
The main disadvantages of the battle: our “favorite” conveyor belt - the villains attack the main character one at a time, and if she is knocked down, the villains nobly wait until she grabs some object again in order to finish off the enemy.
The bottom line: a good, emotional and action-packed scene in the best traditions of South Korean hand-to-hand action, which adorned a rather good overall film.
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Tags: Accident Man: Hitman's Holiday, Baby Assassins, The Killer, The Outlaws 2, Bruce Khan, Zara Pitian, results of action cinema 2022, Kensuke Sonomura, Ma Dong-seok, Masanori Mimoto, Park So-dam, Saori Izawa, Scott Adkins, Song Seok-gu, Tim Man, Chan Hyuk, Andy Long
Tags: Accident Man: Hitman's Holiday, Baby Assassins, The Killer, The Outlaws 2, Bruce Khan, Zara Pitian, results of action cinema 2022, Kensuke Sonomura, Ma Dong-seok, Masanori Mimoto, Park So-dam, Saori Izawa, Scott Adkins, Song Seok-gu, Tim Man, Chan Hyuk, Andy Long
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