Top Martial Arts Movies of All Time Top Martial Arts Movies 2017

What would the end of a decade be without a look back on the movies which came out of it? We may no longer exist in the golden era of fight flicks, but one only needs to spend a few moments thinking of the by 10 years, to realise in that location's still plenty of talent with the enthusiasm and skill to create a great martial arts movie. From new claret like Iko Uwais and Max Zhang, to members of the old guard like Sammo Hung and Jackie Chan, the 10's was a decade which gave everyone their moment to shine.

This list started out in early Dec as a Top x, and as the month progressed, before it striking Christmas it had become nearly 100. Realising information technology wasn't supposed to be a tape of how many martial arts movies I could call back watching over the terminal decade, the terminal days of 2019 where spent trimming and pruning, ofttimes subsequently a restless dark of wrestling with my conscience as to what should stay and what should become. The consequence? A curated collection of 50 movies – forty the best of them, and 10 of them the worst – because nobody wants to read that much praise in a single characteristic.

The pocket-size print – the list is in chronological order, from the starting time of the decade to the end. Run across a movie on either side that you disagree with, or one that you lot feel is missing? Feel free to mention it in the comments! Differences in opinion are welcomed, as is the questioning of my intelligence, and then of course in that location's always those movies that I simply didn't accept the chance to get to. Well-nigh of all, we hope you enjoy reading, and perchance even find a title or two that went nether your radar.

And so, without further ado, let'due south kick this affair off –

"Undisputed 3: Redemption" Blu-ray Cover

Undisputed 3: Redemption (2010, USA) – If ever a picture show isn't supposed to exist, it'southward Undisputed 3: Redemption, which fabricated the vicious bad guy from 2006'southward DTV sequel to Walter Hill's 2002 boxing drama the main graphic symbol. On paper it doesn't make much sense, but onscreen, information technology's piece of cake to run across why British martial arts star Scott Adkins' portrayal of Boyka, the cocky-proclaimed "most complete fighter in the earth", developed such a cult post-obit. Now the antihero of the piece, he has to return from crushing defeat to face off against the Latin Dragon, Marko Zaror. With a cast rounded off by the likes of capoeira primary Lateef Crowder, Undisputed three: Redemption set a new bar for US DTV activeness flicks.

Ong Bak 3 (2010, Thailand) – Some other third entry kicked off the 10'due south, with Tony Jaa's troubled follow-up to 2008's Ong Bak 2. Fabricated at a time when audiences notwithstanding expected bone-crunching fight scenes from any flick with his name on it, almost a decade on Ong Bak 3's uniquely spiritual take on the martial arts genre is well worth a re-visit. With an unusually deep narrative, the final entry in the saga is notable for pitting Jaa confronting his contemporary Dan Chupong. While their confrontation is more comparable to the likes of the activity found in Yuen Woo-Ping'sTai Chi Master than it is a flurry of elbows and knees, with the power of retrospect, information technology's all the more admirable for doing something then different.

BKO: Bangkok Knockout (2010, Thailand) – After stepping in to help his protégé Tony Jaa complete Ong Bak 2 (2008) and Ong Bak 3 (2010), Thailand's master of commotion Panna Rittikrai (who sadly left us in 2014) returned to straight his beginning feature since 2004's Born to Fight. With a plot thinner than a sheet of paper, as a movie BKO: Bangkok Knockout is arguably a watch-in one case affair, only as a showcase for martial arts it's a non-stop rollercoaster of blistering action. Throwing near of Rittikrai'south stunt-squad from the previous decade into featured roles, what's lacking in acting chops, is adequately made up for by some of the nigh intricate and hard hitting exchanges to take graced the screen for a long time.

Jiu-Jitsu (2010, Japan) – Managing director Hiroki Asai's tale of an big-headed Karate school challenging a dignified Jiu-Jitsu school may be defective in upkeep, and only about everything else you'd commonly associate with making a movie, however the proficient news is it delivers where it counts. Where that might exist, is hinted at in the championship, and that's the action. The legendary Yasuaki Kurata produced, choreographed, and plays the wise Jiu-Jitsu sensei, with the rest of the bandage being made up of existent martial artists. Even better news, it that he besides gets in on the action (and he's definitely still got it!). So while yous'll find yourself wincing through the more dialogue driven scenes, when information technology comes to the epic finale, you'll be unlikely to walk away disappointed.

The Human being from Nowhere (2010, Republic of korea) – Since the Korean Wave in the early 00's, its film manufacture has largely moved away from the martial arts movies that remained pop throughout the 90's, all the same The Man from Nowhere showed that a slickly produced thriller could still go hand-in-paw with killer fight scenes. Casting Won Bin as a loner who runs a pawn store, the kidnapping of his friendly kid neighbor reveals a set of skills from a past spent in the Special Forces. Yes, it heavily riffed on 2008's Taken, yet the activeness put information technology in a league of its ain, thank you to a couple of tightly choreographed fights against Thai actor Thanayong Wongtrakul (ironically playing a Vietnamese assassin).

14 Blades (2010, Hong Kong) – It was impossible to get away from Donnie Yen in the late 00's/early on 10's (in 2010 alone he also starred in Ip Man ii and Legend of the Fist: The Render of Chen Zhen), and xiv Blades is one of the highlights from the busiest flow of his career. A loose remake of the Shaw Brothers movie Hugger-mugger Service of the Imperial Court, a visibly beefed up Yen goes up confronting the likes of Chen Kuan-Tai, and has a cast full of faces from old-school kung fu flicks, including Sammo Hung, Fung Hak-On, and Wu Ma. Successfully capturing the distinctly Shaw Brothers experience of old, fourteen Blades is a refreshingly unpretentious martial arts adventure, and one of the few watchable movies director Daniel Lee has made.

True Legend (2010, Hong Kong) – At the fourth dimension of its release True Legend was a big deal. The commencement time for Yuen Woo-Ping to stride into the managing director'due south chair solo for 15 years, and the kickoff time for Vincent Zhao to headline a big upkeep kung fu movie since the late 90'due south. An early experiment with using 3D technology in the kung fu genre, while this element wasn't entirely successful, the kung fu itself (courtesy of the Yuen Association) was 100% on point. Andy On stole the show equally the villainous master of the Five Venoms Fist, complete with ghostly white skin and sewn to the flesh torso armour. His character should accept stuck effectually longer than he did, but even in its current form Truthful Legend nevertheless delivers a worthy dose of kung fu activity.

"Bad Blood" Chinese Theatrical Poster

Bad Blood (2010, Hong Kong) – Nobody is ever going to mistake Dennis Law for beingness a skillful director, only he sure knew how to throw together an action flick. After successful collaborations with fight choreographer Nicky Li on 2006's Fatal Contact and 2008's Fatal Move, in 2010 they proved that it was no fluke by reuniting for Bad Claret. Essentially a riff on the Hong Kong Triad flicks of former, I'd be willing to debate that Andy On and Jiang Luxia have never looked as skilful as they do here, with a good for you mix of both ane on i and 1 versus many fights recalling the lxxx'southward kickboxing era of HK activity flicks. Why Jiang Luxia wasn't able to build on her career equally a leading martial arts extra, is one of the life's biggest mysteries.

KG: Karate Girl (2011, Nippon) – For a while at the beginning of the ten's, information technology looked like Nippon was looking to cultivate their own martial arts genre, with Karate expert Rina Takeda leading the charge. Information technology may long have since fizzled out, however this 2011 unrelated follow-upwards to 2009's Loftier Kick Girl saw Takeda relegated to second dabble in her ain movie, thanks to a scene-stealing plow from xiv twelvemonth old Hina Tobimatsu. Armed with an array of aerial kicks that belied her young age, despite the sometimes 'waiting to be hitting' nature of the choreography, Tobimatsu'due south performance was worth the price of admission lonely. While Takeda's gone on to cleave out a place for herself in Japans film industry, sadly Tobimatsu was never heard from again.

The Raid (2011, Indonesia) – In 2009 we were introduced to a new director and actor partnership – that of Gareth Evans and Iko Uwais. Considering almost any South East Asian martial arts star in the 00'southward drew comparing to Tony Jaa, information technology would have 2011's The Raid for fans to really sit up and realise that Uwais was the next big thing. With a uncomplicated but effectively tense plot (that BKO: Bangkok Knockout could have learnt a thing or two from), The Raid featured a SWAT team whose mission is to take out a drug lord residing on the superlative floor of a high-rise. Their plans to do things quietly apace unravel, and instead nosotros're treated to an almost not-stop set on of Silat brutality, one which is still influencing action cinema today.

Wu Xia (2011, Hong Kong) – Peter Chan's homage to the 1966 seminal Shaw Brothers movie The One Armed Swordsman wasn't content with just remaking its source material, information technology completely reimagined information technology, and then went i step farther by casting the original Ane Armed Swordsman, Jimmy Wang Yu, as the villain. With a plot that often resembles a kind of kung fu CSI (the initial fight scene deconstruction is a joy to watch), Wu Xia took one of the oldest genres in Chinese cinema, and made if experience fresh again. Stellar performances from leading men Donnie Yen and Takeshi Kaneshiro anchor the whole thing, while the appearance of Kara Hui farther casts its ties back to the Shaw Brothers productions of quondam.

The Lost Bladesman (2011, China) – Made at a time when China was still in the midst of 3 Kingdoms-mania, kicked off by John Woo's Red Cliff, The Lost Bladesman ironically got lost among many of the other battle movies bring cranked out effectually the same time. Notwithstanding any movie which casts Donnie Yen as the legendary Guan Yu (and of grade his guandao!) is worth a spotter, and while Yen's acting is certainly less than legendary hither, to see his choreography applied to a Three Kingdoms setting makes The Lost Bladesman definitely worth a look. Plus, Yen gets to confront off confronting Andy On, in a fight which is far superior to their face off in Special ID 2 years later.

Expiry Grip (2012, United states of america) – Fans of the San Francisco based Stunt People had been hoping for another total-length feature ever since 2006's riotous Profile, and in 2012 they got it with Death Grip. Again Eric Jacobus directed and starred, and this time he brought Alpha Stunts and Power Rangers alumnus Johnny Yong Bosch along for the ride. Taking a more serious approach to the narrative, fans were carve up on the utilize of the technique which saw Jacobus imagining fights in his head, unbeknownst to the audition. What tin't be argued though, is that the action on display was of the highest level, featuring a furious pocketknife duel, a hilarious real time tiresome motility fight, and the promised one on ane pitting Jacobus against Yong Bosch.

Universal Soldier: Day of Reckoning (2012, United states of america) – Director John Hyams reinvigorated the Universal Soldier franchise with 2009'south Regeneration, but information technology was Day of Reckoning which showed but how much could be done with the genre. A unique hybrid of psychological horror and action, the plot saw Scott Adkins relentlessly pursuing Jean Claude Van Damme for the murder of his family, a journey which sees him facing off against the likes of Dolph Lundgren and Andrei Arlovski forth the mode. His fight against Arlovski in item is a showstopper, and remains the most viscerally hard striking confrontation in the British stars filmography. Give me some other pairing of Hyams and Adkins over another Undisputed whatever 24-hour interval.

"Armour of God Iii: CZ12" Japanese DVD Cover

CZ12 (2012, China) – The last fourth dimension Jackie Chan sat in the managing director's chair for i of his own movies before CZ12 was 1991's Armour of God Ii: Operation Condor. Combine that with his claim it would likely be his last fourth dimension to headline a big blockbuster, and the "is it, isn't it?" tertiary instalment in the Armour of God series came with some high expectations. Despite some silliness, surprisingly virtually all of them where met, with Chan giving it his all in the action scenes, and even allowing some of his co-stars (former Taekwondo champion Zhang Lan-Xin is a highlight) to smooth. A welcome reminder of just what a artistic genius Chan could exist when it came to fight scenes, CZ12 would take been a worthy swan song (emphasis on 'would').

Ninja: Shadow of a Tear (2013, USA) – Afterward a lukewarm reception to 2009's Ninja, the managing director and thespian partnership of Isaac Florentine and Scott Adkins looked to make amends with its 2013 sequel. Amends were most definitely made. The plot essentially comprises of Adkins rampaging around Myanmar on the chase for who killed his wife, and that'south it. The casting of the forever underutilised Kane Kosugi proved to be a stroke of genius, with his confrontation against Adkins being worthy of inclusion on any Greatest Fights list, orchestrated past i of the best fight choreographers working today – Tim Human (who besides gets his ain fight scene confronting Adkins). At that place may be a lack of ninjas, but with action this good, who cares?

Bushido Man (2013, Nippon) – Afterwards warming up with the likes of the Hard Revenge Milly flicks and Red Tears, director Takanori Tsujimoto reached his zenith with 2013's Bushido Man, a wonderfully stripped back tale of a man wondering effectually Japan challenging masters of combat in their corresponding fields. Like a modernistic day Japanese take on 7 Grandmasters, lead Mitsuki Koga finds himself battling a cast comprised of existent martial artists and stuntmen, resulting in a motion which feels refreshingly old-schoolhouse. An obvious lack of budget, and an almost criminal arroyo to a fight with nunchucks are minor deterrents, but overall Bushido Man'southward promise to deliver on its tagline of 'Eat and Fight' is one that'south kept.

The Grandmaster (2013, Hong Kong) – Wong Kar Wai's homage to the martial arts genre was over a decade in the making, as has come to be expected from the Hong Kong auteur, merely it was certainly worth the wait. Casting Tony Leung in the role of Ip Human being (Anthony Wong played him the same year in Ip Man: The Terminal Fight), under the tutelage of the Yuen Association the activeness on display was the perfect accessory to the musings on what information technology means to be a martial artist. Featuring the now iconic pelting drenched alley way fight scene, every bit impressive action performances from Zhang Ziyi and Chang Chen, and a taste of what was to come from Max Zhang, The Grandmaster is another Wong Kar Wai masterpiece.

Vengeance of an Assassinator (2014, Thailand) – In what would turn out to be Panna Rittikrai's swansong after his untimely passing in the aforementioned year, Vengeance of an Assassin saw Rittikrai reunite with Dan Chupong for a rather hokey tale of two orphan siblings looking to uncover the truth backside their parents murder. Like most Thai action movies from the era, plot isn't what we're hither for (and at least it didn't involve elephants), it's the activeness, and on that activeness front it delivers. Chupong as always is willing to be on the receiving end of an almost gratuitous corporeality of penalisation, only he'due south also more than capable of dishing it out, resulting in a picture which for nearly of its runtime feels like we're back in 2003.

The Raid 2 (2014, Indonesia) – Managing director Gareth Evans said that The Raid 2 is the motion-picture show he originally wanted The Raid to be, but due to budget constraints they had to simplify what they could do. Those budget constraints resulted in the about talked almost martial arts moving-picture show since Ong Bak, and meant that when the sequel did get in, it was suitably epic. Expanding the scope from a single building to the whole of Jakarta, the tale of Iko Uwais' cop going undercover introduced the iconic characters of Hammer Daughter, Baseball Bat Boy, and the Assassinator. The latter, played by Cecep Arif Rahman, led to i of the greatest final fights ever committed to screen, topping off a 150 infinitesimal runtime total of jaw dropping action.

Once Upon a Time in Shanghai (2014, Hong Kong) – Philip Ng takes the lead afterwards appearing in numerous movies every bit that supporting character who shows upwardly for a fight scene, and while his acting won't win whatever awards, he certainly has the moves. A remake of The Boxer from Shantung, the odd color palette is a compromise between director Wong Ching-Po's desired black and white, and producer Wong Jing'southward wish for it to exist in colour. Thankfully the decision doesn't touch on the quality of the fight scenes, choreographed by Yuen Woo-Ping and Yuen Cheung-Yan, and the cast is filled with quondam-schoolhouse faces like Chen Kuan-Tai (the original Boxer from Shantung!) and Sammo Hung. Ng's fight with co-star Andy On is a highlight.

"One Million Klicks" Theatrical Poster

One Million K(50)icks (2015, Deutschland) – Representing Europe of the list, One One thousand thousand K(l)icks is substantially a showcase for the talented German martial artist Mike Möller to show off what he can practise. Thankfully, he can do a lot, and well-nigh of information technology involves punching or kicking people. Wrapped up in a tale of fight videos going viral and a couple of corrupt cops, amidst the many fight scenes Möller shows an ability to too inject some welcome humor into proceedings, resulting in a surprisinly coherent movie. Highlights include his confrontations with Taekwondo practiced Cha-Lee Yoon, and Li Yan-Long, a stalwart of such old-schoolhouse kung fu movies as South Shaolin Master.

SPL Ii: A Time for Consequences (2015, Hong Kong) – Creating an unrelated sequel to the picture show that put the HK activeness genre back on the map may seem like a cynical move on paper, but onscreen it was anything but. Providing Thai superstar Tony Jaa with his Hong Kong debut, his function as a conflicted prison guard remains his virtually substantial exterior of Thailand, and he gets to show off both his action and his interim chops. Wu Jing released Wolf Warrior the same year, catapulting him to distinction in China, so this volition likely exist the concluding time nosotros run across him headlining a contemporary HK action flick. Going upwardly against a scene stealing Max Zhang, if that is the example, and then it's a worthy showcase for all involved.

Ip Man 3 (2015, Hong Kong) – Donnie Yen may have claimed that 2010's Ip Man two was his last, but that all changed in 2015. Now with Danny Chan every bit Bruce Lee, Mike Tyson every bit a boxing gangster, and Max Zhang as an arrogant Fly Chun master, it was understandable why Yen changed his heed, and the results delivered. Pitting Wing Chun against the likes of Muay Thai, western boxing (much more effectively than it did in the sequel), and for the first time, Wing Chun itself, the residue of activity and plot hit the correct note. For the 2d time in the same yr Max Zhang stole the testify (leading to his own spin-off), with a final fight that served as a reminder that kung fu cinema was notwithstanding alive and well.

Kung Fu Jungle (2015, Hong Kong) –Donnie Yen'due south fifth appearance on the list (and it won't exist his last), headlining managing director Teddy Chen'south modern solar day homage to Hong Kong action cinema. Framed around a kung fu serial killer played past Wang Bao-Qiang, from an action perspective Yen takes a backseat for well-nigh of the runtime, allowing Bao-Qiang to shine in fights against the likes of Xing Yu and Fan Siu-Wong. Incorporating diverse styles, the action on brandish is a joy to picket, as are the cameos that form a who's who of the kung fu genre. The final confrontation brings Yen and Bao-Qiang together, as the pair duel information technology out on a busy highway that brings the kung fu goodness.

Terminal Master (2015, China) – Xu Haofeng is quite the talent, having directed, written, and choreographed all three of his movies, the latest of which marks his best piece of work to engagement – Final Master. Here he casts Liao Fan as a newly arrived Wing Chun master looking to open up a school in Tianjin, he just needs to defeat the town's current kung fu masters to do so. The charm of Final Principal lies in its commitment to realism, which in plough, ofttimes results in a surreal (and often humorous) experience for the audition. Wise master's drib oversized swords likewise heavy to bear, shoe laces come undone in the centre of a fight, and confrontations are over in the blink of an center, resulting in one of the about unique and satisfying kung fu movies of the era.

Boyka: Undisputed (2016, United states) – half dozen years since the concluding entry, Boyka returned with a 4th instalment in the Undisputed serial, this time with what'south hands the smallest upkeep (and running fourth dimension) of the whole series. Despite the ravages of piracy having an touch on on the production values, what can't be argued is that choreographer Tim Man is at the elevation of his game, working miracles out of the short shooting time. The talent in-forepart of the camera no doubt helped, providing star Scott Adkins with a good for you puddle of opponents, including fellow choreographer Brahim Achabbakhe and human mountain Martyn Ford. Whether the world needs a 5th Undisputed is debatable, simply if it stops here, Boyka is a worthy conclusion.

Re:Born (2016, Japan) – It felt like fans had been waiting for Tak Sakaguchi to make a full-blooded martial arts movie e'er since his debut with Versus in 2000, and somewhat ironically, they got it with his 2016 retirement movie Re:Born. Featuring a new fighting manner called the Nil Range Combat Arrangement, created by fight choreographer and villain of the piece Yoshitaka Inagawa, the focus of said mode is on using bladed weapons to eliminate enemies as swiftly every bit possible. Expiry Trance managing director Yuki Shimomura goes for a "if it'south not broke, then don't set information technology" approach, throwing Sakaguchi and a small-scale army of opponents together in a woods, and and then letting them go at each other with satisfying results.

Karate Impale | Blu-ray & DVD (Petri Entertainment)

Karate Kill (2016, Nihon) – The 70's Karate exploitation picture show is dragged kicking and screaming into the 10'south with Karate Kill, director Kurando Mitsutake's follow-up to Gun Woman. The result of a risk meeting between Mitsutake and Karate practitioner Hayate (so absurd he doesn't demand a surname), basing a movie around its stars martial arts skills may exist a risky proposition, but in this case it paid off. Searching for his missing sister in America, who's been taken by a cult led by a crazed madman, Hayate is given ample opportunities to prove off his talents, leaving picayune dubiousness he's the real deal. Watch out for the rotating 360 shot which sees him contesting multiple opponents in a hostess bar!

The Bodyguard (2016, Hong Kong) – Over 20 years since he last directed, choreographed, and starred in a motion-picture show, in 2016 the 64 twelvemonth one-time Sammo Hung returned with The Bodyguard. While hardly wall-to-wall action, the smattering of fight scenes make The Bodyguard worthy of inclusion to show merely how astute and aware Sammo remains when it comes to choreographing fights. No longer able to flip and boot similar he used to, the reliance on close quarter exchanges with a need to inflict as much harm as possible past doing as piffling as possible, is a joy to watch. Every bit a swansong to an action career spanning shut to half a century, The Babysitter is a worthy transport-off.

Sword Master (2016, People's republic of china) – In Sword Master everything that's old is new again, as director Derek Yee helms a remake of the very moving-picture show he was the star of 40 years prior, the 1977 Shaw Brothers movie Decease Duel. Casting Peter Ho and Kenny Lin as the leads, Yee creates a wuxia that blends a modernistic approach to filmmaking with the traditions of the past, and information technology's a successful combination. Action choreographers Yuen Bun and Dion Lam, working together for the first time, craft a number of imaginative sword duels. From ane on one'south to group melees, the ii veterans bear witness a keen sense for applying their skills to contemporary filmmaking, hitting the right balance between the performer's skill and CGI spectacle.

Atomic number 26 Protector (2016, Cathay) – Let's face information technology, Iron Protector's bombastic trailer didn't practise it any favours. However forget about all the ridiculous claims, and what you're left with is a pulpy high impact fight flick. Manager and star Yue Vocal's ambitions are clear, and he goes at them with an enthusiasm that comes off the screen. Eschewing whatever kind of CGI, it's impossible not to grin when Vocal faces off confronting a small (well, it's really not that small) army of attackers, and fifty-fifty flying kicks through the windscreen of a moving motorcar similar it'south still the eighty's. With the sole purpose of assaulting the viewer with kicks to the face and bodies thrown into breakable props, Iron Protector may be a hot mess, but it'southward a gloriously entertaining one.

Paradox (2017, Hong Kong) – An official spin-off of the SPL franchise, Paradox sees Louis Koo travel to Thailand to discover his missing daughter, where he teams with local cops Wu Yue and Tony Jaa. For anyone that witnessed Koo's lame attempt at a fight scene in Flash Bespeak 10 years prior, y'all'll be relieved to hear that under choreographer Sammo Hung, he looks much better. Most of the heavy lifting still goes to Yue, with Jaa'due south role amounting to little more than an extended cameo, and bad guy of the piece Chris Collins. The finale, pitting Yue confronting Collins (each wielding a pair of machetes and cleavers respectively), would make you swear you're watching an 80's Hong Kong activeness picture, and that'southward not a bad thing.

The Brink (2017, Hong Kong) – 2 of the decades kung fu scene stealers – Max Zhang and Wu Yue – got a chance to share the screen together in 2017 cheers to director Jonathan Li's debut The Brink. The dockland setting provided a welcome change of surroundings, assuasive for some nautical themed action which was a breath of fresh air (including an underwater action scene). Max Zhang puts forward his case here to be the x's answer to the 90's aroused cop character than Donnie Yen left his stamp on, and for the about role it's a disarming 1. The final fight on a boat in the center of a typhoon is executed surprisingly well, proving that the Hong Kong activeness genre still has it.

Accident Man (2018, USA) – After pitting Scott Adkins and Marko Zaror confronting each other for a 2nd time in 2017's Savage Dog, manager Jesse V. Johnson teamed with Adkins again for Blow Man. A passion project for Adkins, the adaptation of an early 90's British comic comes with a stellar cast of fighting talent, including Michael Jai White, Ray Park, Amy Johnston, and Tim Man (who, like in Ninja: Shadow of a Tear, is as well on fight choreography duty). Everybody gets a take chances to polish, with a highlight being the fantastic 2 versus one that pits Jai White and Park against Adkins, delivering a suitably brutal confrontation. The best news? A sequel is already on its mode, and should be arriving at some point in 2020.

"Revenger" Korean Theatrical Poster

Revenger (2018, South korea) – Korea hasn't made martial arts movies for a long time, preferring to stick with thrillers that contain expertly crafted fight scenes, but that changed with 2018'due south Revenger. Another passion project, this time it's for martial artist Bruce Khan, who casts himself as the atomic number 82 and choreographs the action. Subsequently modest roles in a handful of Hong Kong flicks, here Khan takes eye stage and proves a formidable kicking machine, with a sense of power backside his blows making it immediately apparent he's the existent deal. The half-dozen infinitesimal final fight confronting Park Hee-soo is a rare pleasance in this day and historic period, with a drawn dorsum camera assuasive us to see everything, and a refreshing lack of quick cuts.

The Night Comes for U.s. (2018, Indonesia) – Initially planned to come up hot on the heels of The Raid ii, The Night Comes for Us was mysteriously cancelled in 2015, before rising from the ashes in 2018 thank you to Netflix. It'due south a good matter it finally saw the lite of day, equally despite a ropey plot, it serves upwardly some of the near insanely gory (equally is expected from director Timo Tjahjanto) fight action ever put on moving-picture show anywhere. Joe Taslim from The Raid delivers as a leading man, Iko Uwais is bandage confronting type every bit the villain (and he kills information technology, and anyone that crosses him), and Julie Estelle returns minus the hammer and the sunglasses. The action is bully throughout, simply the best is definitely saved for last, when Taslim and Uwais face up-off.

Triple Threat (2018, USA/Prc) – Marking director Jesse V. Johnson and star Scott Adkins' third motion-picture show to be released in 2018, this U.s.a.-China co-production was a martial arts movie fans wet dream, bringing together Iko Uwais, Tony Jaa, and Tiger Chen. The trio lonely bring enough onscreen fighting talent to fill 10 movies, but when yous pit them against the likes of Scott Adkins and Michael Jai White, y'all're left with a moving-picture show that'south harder to get wrong than it is correct. Thankfully fight choreographer Tim Man brings the goods, and with aplenty opportunities for everyone to do their thing, fifty-fifty the "this has to be there to ensure Chinese distribution" sub-plot is easy to overlook.

Shadow (2018, China) – Manager Zhang Yimou's render to the wuxia genre 12 years afterwards Curse of the Golden Flower was a triumphant one, creating ane of the almost visually sumptuous movies of the decade. The tale of an injured commander and a commoner who he's trained to human activity as his double, the inaugural to a duel with a superior enemy acts as a gradual tension builder, as both personal and professional allegiances begin to fray. Eschewing the flights of fancy many wuxia'south employ, choreographer Ku Huen-Chiu goes for a more grounded strategic approach to the action, utilising a bladed umbrella that'southward a joy to sentry onscreen. Battles in the rain have never looked as cute as they exercise here.

Ip Human being four: The Finale (2019, Hong Kong) – Donnie Yen has appeared in this list 5 times, and Scott Adkins six, so it feels only fitting that the final entry brings them both together in the same motion picture. The terminal (this fourth dimension they really hateful it – the title says then) entry in the Ip Human franchise, this fourth dimension Yen travels to America, and ends up dealing with a pair of racist Karate practicing marines in the form of Adkins and Chris Collins. Anybody is in top form, with Wu Yue standing to be a scene stealer thanks to a slickly choreographed Tai Chi fight against Yen'due south Fly Chun. Yuen Woo-Ping delivers his best choreography for years, and Ip Human 4 finishes the 10's on a high notation, giving promise that the kung fu genre will still be alive and well in the 20'southward.

& At present for the worst –

"The Kick" Theatrical Poster

The Kick (2011, Thailand/S Korea) – When The Kicking was announced the excitement was palpable, imagine the hard hitting activeness of Thailand mixed with the grittiness of a Korean thriller, it was a recipe for success. Sadly the incorrect ingredients came to the tabular array, withThe Kick being very much a Thai production. Fabricated at a time when audition tastes had moved away from the hard hitting flicks of the early 00'due south, and where more in-tune with teeth grating comedy, The Kick is a torture to get through. K-Tigers members Na Tae-joo and Tae Mi do their best, still Tae-joo's B-boy meets Taekwondo routine induces feelings of violence, and this would exist the first of many productions to completely waste matter the talents of Jija Yanin.

Shadowguard (2011, Hong Kong) – Otherwise known as the picture that Michael Biehn disowned (check out the interview here), and it was his directorial debut! Subsequently working together on 2005'due south Dragon Squad (that incidentally belongs on any 00's Worst Movies listing), producer Bey Logan invited Biehn to People's republic of china to direct and characteristic in the debut of a new action talent he'd scouted, Phoenix Chou. Basically a remake of The Last Blood, non even Fan Siu-Wong'due south choreography could save this turkey, with his activity undermined past a lack of power and commitment from those performing it. Combined with bargain basement product design, and a 'new talent' who was never heard of once again, Shadowguard is one to avoid.

Tom Yum Goong 2 (2013, Thailand) – Almost 3 years in the making, Tom Yum Goong 2'due south laboured production is all there to come across onscreen. From its initial announcement in 2011, Tony Jaa'due south render to his sophomore starring role was one mishap afterwards another – somewhere forth the way it was decided to shoot in 3D, then Jija Yanin became pregnant while filming, then it was decided to bring in RZA as the villain. Jaa's heart clearly wasn't in information technology, and the result is one that sees him sleepwalking through the fight scenes, while Yanin's co-starring role is awkwardly reduced to a supporting character. The dumbest decision of all? A final fight which pits Jaa against RZA. The studio should accept paid people to sentinel it.

Special ID (2013, China) – In 2013 Clarence Ford hadn't directed anything since 2006'southward Dating a Vampire, and so handing him a Donnie Yen activeness vehicle probably made sense at the time. Unfortunately, Special ID is an unwieldy mess. With a major selling signal being Yen'due south aroused cop versus Vincent Zhao's gangster, the promise of a fight was quickly snuffed after Zhao quit mid-filming, sighting Yen as beingness too difficult to work with. Replaced by Andy On, while nosotros however get a healthy fill of fight scenes, Yen'due south fondness for MMA overly-dominates here, losing the exciting mix of HK choreography and grappling that he did so well in SPL and Wink Point. Sadly, watching grown men roll around on the flooring together merely isn't that thrilling.

Rise of the Legend (2014, Hong Kong) – Reimagining the graphic symbol of Wong Fei Hung has led to some of kung fu cinemas greatest hits – Gordon Liu in Challenge of the Masters, Jackie Chan in Drunken Master, and Jet Li in Once Upon a Time in China. Eddie Peng isn't a part of those hits. Aiming to make Wong Fei Hung 'gritty' for the absurd kids, Rise of the Legend sees the character go hole-and-corner as a member of the Black Tiger triad gang, led past a villainous Sammo Hung. It'southward a cool concept, but undone by a plodding runtime, and fight scenes that rely too much on CGI and wires. If you lot do make it to the cease, fix for the embarrassment of an action scene set up in a CGI blazing warehouse, then block it from your memory.

Kung Fu Yoga (2017, China/India) – Much like CZ12 never made it clear if information technology was an Armour of God sequel, then Kung Fu Yoga never makes information technology clear if information technology's a sequel to The Myth, but permit'southward say it is. Let's as well say information technology's ane of the worse movies of Jackie Chan'south career. Half Bollywood nonsense, one-half Chan and his young cohorts running away from CGI lions and hyenas, Kung Fu Yoga is a train wreck. If anything information technology's more a promotional piece for the relationship between China and India than a motion picture (or anything to practise with yoga for that matter). Chan and director Stanley Tong testify to be tone-deaf, and when proceedings cease with a fight scene being interrupted to break out into a Bollywood dance number, you'll wish you lot were too.

Kickboxer: Retaliation (2018, USA) – Absolutely, information technology was a toss-up between this and 2016's Kickboxer: Vengeance as to which 1 should be on the listing, but in the stop it goes to Retaliation, the 2d in a trilogy (of which the 3rd has thankfully however to materialise). An oddity of a film, strange casting choices similar footballer Ronaldinho, Mike Tyson, and Icelandic strongman Hafþór Júlíus Björnsson (who plays the villain) make for painful viewing. Alain Moussi spends more than time in boring motion than he does at normal speed, every bit we're forced to sit down through every one of his flying kicks accept a minute to unfold onscreen, be information technology confronting bikini-clad assassins wearing glow-in-the-dark lipstick, or Thai stuntmen waiting to be striking. Truly awful.

"Iceman: The Time Traveler" Theatrical Poster

Iceman: The Time Traveller (2018, Hong Kong) – When a sequel that was apparently shot back-to-dorsum with its 2014 original takes 4 years to be released, that's mostly a sign of trouble, and Iceman: The Time Traveller is a textbook example. What started off as a remake of the 1989 Yuen Biao picture The Iceman Cometh with the Donnie Yen vehicle Iceman 3D (a fun but throwaway entry in Yen's ballsy 2005 – 2015 filmography), turns into something borderline unwatchable in this mind-bending follow-upwardly. Containing activeness scenes that can all-time be described as insipid (there's some debate as to whether Yen and Yasuaki Kurata actually filmed their fight separately), even the most diehard Yen fan couldn't recommend this ane.

Principal Z: The Ip Man Legacy (2018, Hong Kong) – Almost probable the most controversial choice this side of the list, but for me Master Z is the perfect example of everything that's incorrect with modernistic kung fu movies. An aesthetic that's besides clean, bloodless decapitation, CGI props instead of breakable ones, inappropriate wirework, and a plot so focused on telling u.s. that foreigners are evil, it forgets to give us a reason why nosotros should care. Max Zhang reprises his role from Ip Man 3, only it's a diluted version of the character, and the edginess that made him so cool previously has evaporated into sparse air. Ironically the only person to come up out of this one looking good is a greenhorn, with David Bautista making a suitably imposing villain.

Invincible Dragon (2019, Hong Kong) – Manager Fruit Chan's beginning foray into the martial arts genre is, without doubt, the biggest caput scratcher of the decade. What on globe where they on when filming this!? Invincible Dragon pits Max Zhang, unfortunately appearing for a 2nd fourth dimension in the 'Worst of' section, against erstwhile UFC fighter Anderson Silva, and all you demand to know is that their confrontation involves a bungee bound. Proceedings are dominated past Zhang'southward unintentionally hilarious try to play a graphic symbol well beyond his range (look out for the prosthetic potbelly!). Silva fares no amend, as the least convincing serial killer of the century, and then of course, we have an actual dragon who makes an appearance. Madness.

That'south a wrap, and so let's all look frontward to what the next ten years has in stall. 2020, bring it on!

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