Actions are baked in a soft celluloid fabric film medium. Why was the movie camera invented? See how things change. There is nothing more touching than a great action movie. Hell, every shoot starts with someone yelling “Move!”
But what makes action movies great? Genre is already very subjective. Stephen E. de Souza, screenwriter of many of the revered films listed below, did not hear of action films being considered a separate genre until the mid-1980s. Prior to that, it was scattered across westerns, war films, martial arts films, and police programs. These days, action movies have turned back into superhero soap operas and all other special effects blockbusters, and it’s hard not to find action movies at your local cinema. So, to define true greatness, this list includes a small selection of all of the above.
But how does “cooked” compare to “The Lord of the Rings”? There are apples and oranges, and there are Jackie Chan and Arnold Schwarzenegger. It would be foolish to look for the most authoritative, historically unquestioned, greatest action movie of all time. Therefore, the following 95 entries are listed in alphabetical order. Think of it as a course on the basics of running, jumping and falling. The only thing that’s really impressive is that the movie delivers a variety of thrills, whether it’s Tony Jaa doing push-ups on an elephant or Rudy Ray Moore reaching for an insult. . It’s action, packaging.
The only way to torture someone like Action Jackson is to tie him up like Steve Reeves Hercules and use an industrial blowtorch on him. Of course he doesn’t break down, but that gives him time to come up with the material. The way director Craig Baxley and star Weathers approach material is why Jackson, men and films are part of the action pantheon. Using a grenade launcher to corner his captors at close range, Weathers delivered the punchline – “How are your ribs?” like a verdict in The Hague. Instead of showing any physical carnage, Barksley vanished from fire to fire, becoming a smoldering half rack on a grill.
“Action Jackson” is what other action heroes of the 80s saw in several halls of the mall and applauded as the credits rolled. Every scene is a new article about how cool Jackson is. He’s a savage with a badge, both in legend and size. He once made a criminal pass out by simply saying, “Relax.” Moments of those football-sized or cherry-red convertibles that don’t belong to him are spent pitching Craig T. Nelson as the most evil martial artist businessman in the industry of evil and martial artists. But none of the Blaxploitation villains before him can match the guiding force of Action Jackson, the one who pushed Pontiac up the ladder with the sheer force of hate.
In a fair universe, there would be three sequels and reboots on this list. Carl Weathers deserves more, but it’s hard to imagine better.
“When I saw the first wave of Akira, I thought it was going to be a flop,” creator and director Katsuhiro Otomo told Forbes. “I quickly left the cinema and returned home to tell my wife that the movie was a flop.” This is a weak homage to one of the most influential science fiction stories of all time.
Gang leader Shotaro Kaneda, voiced by Mitsuo Iwata, leads a brutal if simple presence in the bilious shadows of New Tokyo. He relies on the jukebox, races with rival motorcycle gangs, and hangs out with his childhood best friend, Tetsuo Shima (voiced by Nozomi Sasaki). However, everything changed, and when Tetsuo crashed his bicycle into a passing child, he was completely unharmed by the ensuing explosion. It wasn’t long before the couple were knee-deep in government cover, including telekinesis, burial of remains, and ballooning body horror. But developing the plot of Akira is a waste of time and paper – it’s impossible to appreciate it without seeing each of its 160,000 cells in impossible motion.
The smoke of tendrils, sentient and searching, tracked each explosion. From a height, traffic on Cape Mors disrupts neon buildings. Headlights and las-fire flashed the same shade of orange as they passed at the same speed. The action was so fast-paced that when Kaneda skidded his motorcycle, Otomo and company accidentally registered their movement as the skid of the Akira. While this is as effective as ever for anime, Japanese sci-fi, and mature anime in general, nothing beats Akira’s ultra-sleek nightmare.
James Cameron took up work on the script for the films “Alien” and “Rambo: First Blood” on the same day. What ties these two projects together, more than any military hardware or Vietnamese fable, is Cameron’s unique ability to create the best sequel: when in doubt, act quickly.
Due to problems with xenomorphs, cargo porter Ellen Ripley has PTSD and her driving ability is officially investigated. Now an expert just out of her pain, she offers a mission to accompany some Space Marines on a possible bug hunt. But redemption and employment are less important to her than cold, quality revenge. Neither Ripley nor the Meathead Peanuts gallery suspected that she was the one who was going to throw away most of it.
It took some time for Cameron to convince Weaver that she wasn’t going to play Rambo in space. Her revenge on Ellen Ripley, as she performed at the end, belongs to the pantheon of action heroines. Even though she was still fighting a one-on-one war with her assault rifle and flamethrower, there was risk in her ragged breathing. She would either destroy those monsters or die, and she knew exactly where the opportunities were. In a 2017 interview with Entertainment Weekly, Weaver broke down the role in her clinical setting: “Ripley doesn’t have time to try and be empathetic, you know?” In Alien, she has everything upside down. In Alien, she exponentially grows in depth, but still rushes into the very center of darkness to save a lost child. She’s not tough, just calloused, which makes it all the more exciting to see her locked up, loaded, and screaming.
Bad Boys was a Jerry Bruckheimer and Don Simpson blockbuster when the super producer was in his class. All of the film’s stars have TV faces, and they were all quick to replace Dana Carvey and Jon Lovitz. The director’s biggest project to date is the “Do you have milk?” campaign.
By contrast, Bad Boys 2 is not just a Michael Bay movie. In many ways, this is a Michael Bay film. In response to Bay’s criticism of the Titanic’s reputation as Pearl Harbor, Bay made a $130 million claim that remains to this day: he would exterminate people in exchange for a large enough budget for the arsonist.
“Everyone deserves respect,” said Martin Lawrence. This is a joke that Bey will never stop laughing at. Fresh corpses bounce like barrels in Donkey Kong during a car chase. The one-off lines about rat sexuality paid off with animated demos. The heart-to-heart joke is filled with gay fear and streamed on Best Buy so buyers can properly poke fun at real human feelings. The slum chase in Police Story was re-enacted and revived with a lot of collateral damage. Moments after killing a suspect under the wheels of the Miami-Dade subway, Lawrence defied the gods again: “This has got to be the worst, most emotional cop week of my life.” a faction of government agents invaded Cuba to rescue his sister.
Bad Boys 2 was the worst and most emotional cop week on celluloid. Unbelievable if you can stand it.
The difference between poliziotteschi, the Italian brand of European crime in the 1970s, and the American Dirty Harry procedural class that influenced it lies in the first major police work of super-cop Fabio Testi. After seeing how a terrible gang of thugs attack, blackmail and intimidate them in Rome, he followed them to a teleconference. Instead of leaving with cold retorts and bladed weapons, Testi was cornered. The gang member hit every surface he could hit and flipped his unmarked car off a cliff. Inside, the two cameras keep spinning as Testi flips upside down, trying to keep the shards of glass from her handsome face.
In poliziotteschi, violence is ruthless and uncompromising, not to mention that it is often dangerous both inside and out. Even super cops are not safe. Otherwise tell them why they are so compelled to take the law into their own hands? In The Big Racket, there is no alternative for the sheriff but justice. When Testi runs into departmental corruption, he packs up his suede jacket and Marlboro Reds and goes freelancing, arming any affected locals he can find. The resulting war is the most brutal of the subgenre, but director Ezno J. Castellari never makes it satisfying. Even the triumphant Testi ends the film with nothing. While the fascist pulp of Italian crime may be an acquired taste these days, the Big Rack remains one of the milder flame cocktails.
Of the sacred Hong Kong trinity of Tsui Hark, Wu Yousen, and Ling Ge, Graham is the hardest to classify. His best films include period comedy (Peking Opera Blues), martial arts epic (Once Upon a Time) and bullet ballet (Tomorrow Will Be Better). All of them are excellent, but none of them are definitive. However, to better represent the range, nothing beats Blade’s Edge.
In order to update Zhang Che’s formative One-Armed Swordsman, Xu worked without a script and masked the differences with absolute brutality. In order to avenge his father, the blacksmith Zhao Wensen lost his right arm, which made him an orphan killer. Instead of swearing revenge, he dropped everything and fled. For this sin, some random thief broke into his house, hung it upside down and set it on fire. By that time, in addition to his father’s anger and broken sword, Zhao Cai began training to even the score. Cruelty is the rule, and if one forgets, the naked corpses hanging in the street will remind him.
In Hell Xu violence is subjective. It wasn’t the dazzling sword that killed them, but the white-eyed faces disfigured by anger behind them. Each battle is another searing montage built around Zhao Wudi’s windmill strike. The camera keeps up with the blurry doom of his rival. If they are lucky, they parry once. Then a spin, a push forward, a flash of steel, blood staining the nearby shoji screen. One-handed swordsmen are so good. Xu Iran.
Wesley Snipes’ representatives told him not to make Blades. The offer landed with a thud in the superpowered lull between “Batman & Robin” and “X-Men.” The offer landed with a thud in the superpowered lull between “Batman & Robin” and “X-Men.” The proposal landed with a thud in the super-strong lull between Batman & Robin and the X-Men. The proposal collapsed in the super pause between Batman & Robin and X-Men. In a 2017 interview with Tom Power, Snipes reiterated his bulletproof logic about accepting a job no matter what: “Because I’ve never seen a black vampire doing karate before!”
The first Blade had its charms, chief among which was the infamous bloody spree, but the Blade II eventually paid off that check in full. Half-vampire slayers are suddenly more of a problem than textbook vampires. A new variety has entered the streets, visually being part of the Nosferatu. They have “predatory” mouths, cravings for humans and vampires, and their skeletal structure makes them daydream. Even when they are hit with swords, they simply run away with disembodied bellies. The only way to defeat them? That’s right: more karate.
Director Guillermo del Toro, who had just released The Devil’s Backbone, made his fabulous abomination scream about himself and made Blade 2 look like a bloody fighting movie. Played by Snipes, a black belt in several martial arts. This is a movie star at the pinnacle of power and proud of it. Every line, every vertical line, every blind shot of his legendary Oakley is the perfect combination of actor and character, one of the best shots ever taken. Superhero movies don’t get better.
The Blues Brothers was based on a Saturday Night Live parody about Dan Aykroyd and John Belushi in bee costumes. When they ditch the badges and turn into real shows with a bunch of killer musicians behind them, they don’t even leave room for punch line. Here are two of the most popular burlesque artists in America who have shown their blues version of the Garage Band on national television.
Somehow, that double-platinum soundtrack turned into a two-hour Odyssey, one of the hardest films of its kind to categorize, whatever it is. comedy? Music? Picture chase? And not all of the above. This mixed frenzy is the result of rookie screenwriter Aykroyd handing over a phone book-sized script that captures every detail of the band and the magical powers of its noble, unnamed steed, the Bluesmobile. Director John Landis, the chaotic conductor at Animal House, turns his star’s encyclopedia into the essence of his free associations.
The dance routines themselves can be exciting – check out Aykroyd’s performance at Sweet Home Chicago – but the demolition derby is actually a record-breaking one. There were 104 stunt cars involved in the production process, so it took a 24-hour repair shop to do nothing. Landis and his Crazy Band have applied for a special permit to blast through some of the Windy City’s busiest streets at 100 miles per hour. Not to mention a closed mall recreated with the express purpose of demolition. Between the background soundtrack, the chaos on four wheels, and the feeling that the springs could break at any moment, The Bruce Brothers was like two hours at the most dangerous county fair in the country. Not many fighters can boast the same.
“Usually action is something that happens for no reason,” director Doug Liman told Variety. “In Bourne’s case, he gets to know himself in the fight scenes.” In his first studio photograph, Identification, Liman also recognizes himself in action scenes. His free-associative style makes charts redundant and producers bright red. This conflict would become a trademark of sorts, affectionately known as “Limania”. But his work and everything that reproduces it speaks for itself.
32-year-old Matt Damon looks at least 5 years younger, fights and races like crazy. Skills lost due to a bout of amnesia return in the form of a panic reaction. Flip your elbows. Drive a Mini Cooper in oncoming traffic. Take the Bic pen to the stabbing. Using the corpse as an airbag, fell four stories more or less unharmed. The sequences are sliced and assembled to fit, sacrificing the geographic sense of adrenaline urgency. Lyman pays less attention to punches than to his tangled hands in search of a target.
Some might argue that Paul Greenglass perfected the style in the sequel by shaking the camera to the point of causing motion sickness, but the DNA was entirely Lehmann’s. Bourne Identity’s highest compliment comes from competition. When James Bond needed a role model in the post-9/11 world, he took some lessons from Jason Bourne. “Casino Royale” could have come out on top, but without “The Bourne Identity” there would be no “Casino Royale”.
Introducing “City of Violence” for Twitch Film, writer, director, producer and star Ryu Seung Wan describes it as “picking characters from John Woo or Jang Chul films, [putting] them in the same position as Roman Polanski.” cinema and the development of action in the style of Jackie in this world. For the filmmakers, once you see the film, it makes sense.
Four estranged childhood friends are reunited due to the unusual death of their fifth child. Three become respectable – police officer, math teacher, loan shark – and the fourth becomes dark and becomes Seoul’s godfather. For a while, it was a disturbing drama about a path not taken. Seung Wan then reminisces about the good old days when the five of them got into fights with other, larger gangs of teenagers in a fight and ended up buried around their necks when they were inevitably defeated. As loan sharks and cops, Seung Wan and stunt coordinator Jeon Doo Hong take on the grim duty of investigating the murder of the Fifth Man and, perhaps, only perhaps, use their knuckles for nostalgia.
But a movie called “City of Violence” didn’t make the list for plot reasons. Imagine Dou Hong walking alone at night, past a group of break dancers. The worm silently challenged him. As a result, street fighting consists of dodges, rolls, and posture repurposing. Du Hong fled as soon as they were able to breach their handstand defenses, but didn’t get very far. Almost immediately, he was surrounded by three other themed gangs: hockey players, schoolgirls and baseball players. The ensuing war – there are no other words to describe it – was a stunning spectacle of physical movement. Dou Hong spun him like a top, and the momentum worked not for Chen’s elegance, but for the wildness of a sunken chest. It’s not even the biggest, best or worst fight in the City.
Director Renny Harlin didn’t think the Rockies were strong enough to rival the Rocky Mountains, so he moved most of the production to the Dolomites in northern Italy. Whether or not it’s the most practical solution, it’s definitely the Harlem-style solution to get better muscles and amazing sizes. His Die Hard 2 is exposed to strange dangers because of a human hero. He needs superman.
When they started filming, Sylvester Stallone was afraid of heights. But for the most part, it’s him, Rocky and Rambo, dangling from 13,000 feet in the air, shivering in the alpine snow in T-shirts. The script is flawed – the opening where Stallone’s beefy biceps can’t resist the force of gravity is painful as ever – but it’s also present in every painful close-up. The difference between Schwarzenegger and Sly at their peak was pain; while the former was more or less invincible, the latter was wounded. At its best, The Rock is Stallone’s return to his “first blood” roots after the Rambo sequel turned the character into a US Army draft poster.
Between Schwarzenegger and Stallone, Sly had the best box office in 1993, this film and The Destroyer were prettier than The Last Action Hero, but the bell rang through the two muscular men. Stallone didn’t have more success in the shooting business until The Expendables retired the old models. Harlem’s attempts to portray Geena Davis as the first action hero of the ’90s – the status she deserved after The Long Kiss – fell flat. At the very least, “The Cliff” remains one of the genre’s last great simulated explosions.
“It was easy for him, because he really didn’t believe it was going to happen,” Pam Greer, a nurse turned vigilante, told Dealer #2, seconds later, a hole was made in #1’s head by the Ministry. for you, because you’d better believe it’s going to happen.” That’s Greer’s charm, in a nutshell: it’s impossible to miss her, but if you underestimate her, do so at your own risk.
In her first solo show, Greer took over the entire heroin trade. She uses herself as bait and a trap, lures her prey with her Amazonian body and freezes them with the million dollar phrase, “You’ll fly through their pearly doors with the biggest fucking smile Saint Peter has ever seen!” she had at hand: a shotgun, a syringe, a razor blade hidden in her hair. Director Jack Hill certainly puts exploitation in Blaxploitation — not only does Coffey have some skin, but some of its brutality, like car lynchings, offends vulgar taste — but the movie hasn’t lost its place in the decades since its release. .
Greer collaborated with Hill on a script that featured her own mother. Her stunt double, Jedi David, was the first black woman in the film industry. In modern circumstances, Pam Grier has become a typical action heroine, black or otherwise, who knows: “I create a market for films about women who resist and use sex,” she told The New York Times. And it all started with her two-pronged approach at Coffey.
In Stay Hungry, Arnold is a revelation. In Pumping Iron, Arnold is new. In Conan and The Terminator, he is an irreplaceable gimmick. His content in “Commando” is printed on the poster: “Schwarzenegger” is attached to the title.
If there was any doubt that the biggest action stars of the decade had arrived, they were allayed by the opening credits. Austrian Oak holds a chainsaw in one hand and an ordinary oak tree in the other. According to Empire, director Mark Crist vowed while watching the game, “We need to have a bigger dick than Rambo to best explain and forgive what comes next.”
No provocation, John Matrix is a teddy bear in leather pants. Even the deer loves it. However, having kidnapped his daughter, he turned into a human pest. The only time he stopped moving was when the entire team of mercenaries threw him to the ground and put him to sleep like a fleeing rhinoceros. But this is just a speed bump for superheroes. The Matrix jumped out of the plane mid-flight and delayed a phone booth while talking. A few milliseconds after the convertible crashed into a lamppost, he asked passenger Ray Dong Chong if he was okay, answered her and went out to hang the villain from a rock. The finale is a ten-minute middle finger to “First Blood: Part II,” a one-man war fought off the coast of California as South American dictator Dan Hedaye attempts to blackmail the wrong perpetual motion machine of violence.
With no wasted seconds, fireworks, or satirical autopsies, Commando is the platonic ideal of 80s action and the arrival of movie star Arnold Schwarzenegger.
Some actors are made for once-in-a-lifetime roles. On the other hand, Arnold Schwarzenegger is too good to play Conan. Director and screenwriter John Milius didn’t want a bodybuilder, he wanted a savage. He stubbornly believes that the unconventional protagonist will lose weight, sell his bruised dialogue, become his Conan, and turn a mean jerk into a Wagnerian opera.
Schwarzenegger is not the eloquent savage in Robert Howard’s endless paperbacks. However, he is the flesh hulk portrayed by Frank Frazetta on many covers. Even asking your god for bloody vengeance would be too much for Conan. “I can’t do anything about it,” he said. His Austrian accent made a few of his words sound vicious and unfamiliar, as if he had never spoken before from a world that didn’t need to speak. He wanders the mystical wasteland in search of sex, treasure and revenge – the only language he truly speaks.
However, when Schwarzenegger swung the sword of Atlantis, his impossible physique vanished. Just before the blade was stained with blood, it was just two angry white eyes, a child who stepped on an anthill for blocking the path. No amount of war paint could hide the softness of his face. This savage is in a developmental stage where he is arrested, an innocent is tortured and rewarded for being a hedonistic killing machine, and Milius believes that he is the only living person who can carry this needle in his body. Arnold Schwarzenegger may not have become Conan, at least by literary standards, but in his Olympian style he did more: he made Conan Arnold Schwarzenegger.
Magic, the directorial debut of Mark Neveldine and Brian Taylor, ends with Jason Statham’s character falling 6,500 feet and landing on a Jaguar XJ6. However, Lionsgate asked them to make a sequel. The couple saw this as a well thought out challenge and wrote another one. To this day, they don’t believe the studio actually read the script.
Watching any particular scene in Crank: High Voltage confirmed their suspicions. According to Neveldine and Taylor, this is Evil Dead 2 from the original Evil Dead. It’s part remake, part pervert, part formality. Instead of a constant supply of adrenaline to keep his heart pumping, Statham needs regular discharges to keep his black market alternative working. Energy drinks won’t help anymore. This time, he needs to, say, use the lightning from the substation, play the Godzilla scale and crash his enemy into the nearest miniature warehouse. Everything old becomes new again, but even more nasty, public sex with girlfriend Amy Smart turns into an acrobatic marathon in horse racing. Statham, the anointed descendant of the ’80s action icon, has proven to be more playful than the rest of the class. No other actor has yelled so hard at a dog walker to keep electrocuting his collar or look so stupid without these effects.
Crank: High Pressure remains the benchmark for cheesy action, the incredible work of two crazy artists taking professional cameras to new heights and new lows. Since then, there have been rumors of a third Freak (which could be filmed in 3D, as Statham told Movies.ie), but the world may not be ready for it. He’s not ready for “high pressure” yet.
Director Ang Lee said in an interview with Entertainment Weekly, “This is a martial arts film, after a few months of working on it, I realized that it was really musical.” bye. Logic, go to the land of children’s fantasy.” Hu Wan has dreamed of making his own martial arts film ever since he saw a samurai fighting an acrobatic duel in a bamboo forest in his One Zen. When Lee finally gets the chance, he wants his warriors to fight in those trees.
Post time: Oct-27-2022