May 24, 2026, 1:39 pm | Read time: 5 minutes
No other genre captures kinetic energy like action films. Car chases, shootouts, explosions, stunts, and the camera right in the middle–that’s pure cinema. Nowhere else is it more intense and uncompromising than in Asia. “The Furious,” a new genre entry from the Far East, is coming to Germany, featuring some well-known stars who don’t just shake hands but exchange punches. The result puts almost everything Hollywood sells as blockbusters to shame.
What is “The Furious” about?
A mute craftsman (Miao Xie) spends some peaceful time with his daughter (Enyou Yang) who is visiting him. But one day, everything changes when the girl is kidnapped. The desperate rescue attempt fails, and the police prove useless. However, this doesn’t stop the enraged father from taking the law into his own hands. During his rough investigation, he encounters journalist Navin (Joe Taslim), who is looking into his wife’s disappearance. She was on the trail of a smuggling ring specializing in children. Together, they try to bring them down, leaving a trail of blood and bodies–one villain after another.
Simple story surprisingly heartfelt
Of course, “The Furious” doesn’t need clever Tarantino-style dialogues or complex narrative and time layers like Nolan. The story is at best functional. Yet, the film scores in some content aspects. Above all, the father-daughter relationship works very well despite a brief introduction and few later insertions.
This is mainly due to the performances of all involved, who, despite the bloody chaos around them, always give their characters emotional depth and ground them sufficiently in humanity, so you genuinely root for them. Furthermore, the girl is not just a plot device to be rescued. The script establishes early on that she is capable of actively engaging in the events and influencing the story. That the adult men, especially the proud father, respect this at a certain point and adjust their actions accordingly adds another heartfelt layer to the interpersonal dynamics.
When father and daughter charge into battle together in a madcap moment, both undergo a development you wouldn’t expect from such action extravagance. The budding friendship between Navin and the mute hero also works thanks to the stars.
Sometimes intentionally, sometimes unintentionally funny
This makes up for the fact that the staging and dialogues occasionally make some cringe-worthy blunders. At least in the original, English alternates with Chinese and Thai. And the English sentences sound almost laughable due to their elementary school level. Sometimes it seems like dubbing was involved, making it even more embarrassing. In such moments, you might want to cover your ears.
There are also a few artificially-pathetic slow-motion shots that are supposed to appear heroic or profound. However, they feel like awkward foreign bodies and only caused the author of these lines to cringe in disgust.
On the other hand, there are other scenes where the action is briefly exaggerated in a comic-like manner, inviting genuine chuckles. More won’t be revealed here, except: the flying headbutt from E. Honda in “Street Fighter II.”
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“The Furious” with furious action
These are just lighthearted highlights in an otherwise uncompromising, creatively choreographed brawl ballet. For those who think they’ve seen it all in action cinema, director Kenji Tanigaki and his team will prove them wrong.
It’s striking how each character fights in a different style. One prefers to throw punches, another grapples, chokes, and throws until the lights go out. Yet another wants to overpower opponents with sheer strength, while the next whirls across the screen with delicate, swift kicks in the best Taekwondo fashion. Even a bow is repurposed in a way never seen before. Yes, the bow, not the arrows. All this happens simultaneously in the best moments.
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It’s also unusual how often entire groups are in a clinch, stepping over each other or crawling and sliding under one another. Then all involved become a single mélange of violence. In “The Furious,” high-level martial arts sometimes go hand in hand with raw brawling, which is also reflected in many extremely bloody injuries–the faint-hearted should stay away.
Clearly staged and clearly the action highlight of 2026
All this is not only skillfully executed by the stars but also excellently staged. Especially in the grand finale, the camera and editing become invisible protagonists that significantly contribute to the impact of the events. The camera is always either close enough or sufficiently distant at the right moment, maintaining an overview. Not a single moment of chaotic editing occurs in “The Furious.” The action remains clearly visible and comprehensible within the frame, allowing it to unfold wonderfully.
If the global film industry were fair, “The Furious” would be a box office hit. That is unlikely to happen–too brutal, too small, too Asian. The big Hollywood blockbusters like “The Odyssey,” “Dune 3,” “Avengers: Doomsday,” or “Spider-Man: Brand New Day” will dominate the discussions and charts in 2026. Rightfully so, mind you.
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But for those tired of constant sequels and computer effects and looking for something “real” in action films, they should, no, must see “The Furious” in theaters starting June 18, 2026. Then you’ll be served a breathlessly intense martial arts collision of the highest order in the best “The Raid” tradition.
I’ve already seen the film at a press screening and will watch it again with friends and joy.