The Furious (2026) is directed by Kenji Tanigaki, featuring a screenplay by Tin Shu Mak, Zhilong Lei, Kwan-Sin Shum, and Frank Hui. It stars Miao Xie, Joe Taslim, Enyou Yang, Brian Le, Yayan Ruhian, JeeJa Yanin, Joey Iwanaga, Sahajak Boonthanakit, Manatsanun Phanlerdwongsakul, Guo Junqing, Winai Wiangyangkung, and Sahatchai Chumrum. The film follows Wang (Xie), a mute handyman and single parent forced to confront a network of depraved human traffickers who kidnap his young daughter (Yang). He soon joins forces with Navin (Taslim), an undercover cop searching for his wife who also went missing at the hands of these traffickers. Together they wage a two-man assault against countless trained killers as they descend into the belly of the beast. 

Normally, I’m not a fan of protagonists who can’t/don’t speak. It often comes across as nothing more than a gimmicky excuse for the writers to avoid writing dialogue. Although Wang’s silence feels a bit convenient given that the film is primarily focused on elaborate martial arts set pieces, that’s kind of the point. The film isn’t confused about its main goal, which is to deliver hard-hitting, badass action from start to finish. 

Miao Xie does a fantastic job communicating Wang’s various intense emotions, which is only one of many reasons the character lands so well despite embracing archetypes commonplace in the genre. His short stature and humble lifestyle immediately establish him as a physical underdog (or so we think) as well as someone who truly prioritizes his daughter’s well-being above things like financial stability. When pitted against a kabal of villains who kidnap and sex traffic children, Wang’s sqeaky clean, monk-like morals make him someone who’s almost effortless to root for. This isn’t a story with morally grey, tortured characters where the line between good and evil is often just a matter of perspective. Instead, it takes a more traditional approach that has clear heroes and villains. 

As Navin, the speaking half of the film’s heroic duo, Joe Taslim is wonderfully charismatic and, unsurprisingly, once again proves to be modern master of executing martial arts action sequences. Despite having a common enemy and a similar moral code, Navin works as a wonderful foil for Wang. Many of their interactions, such as their many efforts to communicate, are charming and funny–providing the film with some necessary comedic relief. The two are different enough that seeing them find common ground is rewarding, but never so much so that their alliance and eventual friendship feels inauthentic. 

The villains are wonderfully despicable–the perfect crew to root against. This sets us up perfectly for the many epically choreographed fight sequences. Along with wanting the heroes save their loved ones, we desperately want to see these bad guys get their asses kicked, giving the viewer an honest stake in the outcome of each throwdown, of which there are many. Despite being reminiscent of a John Wick movie in its sheer number of action sequences, it avoids fatigue by always remembering that great action doubles as a way to visually provide characterization and advance the story. On top of this, the filmmakers consistently find ways to choreograph it all in a style that’s truly fresh and inspired. It’s all a little corny and doesn’t always follow the laws of physics, but I think it just adds to the enjoyment.

 Overall, this is easily my favorite international martial arts action film since The Raid 2 (2014). It reminds fans why the genre’s cliches are so common, but in equal measure brings elements that feel fresh and exciting. The action is brutal, varied, and consistently fun without sacrificing its life-or-death stakes. The sound design in particular elevates the experience, allowing every punch and broken bone to land with maximum visceral effect. If you like martial arts action films, definitely check this one out. If you’re unsure about the genre, still check this out. It’s action-packed and has a lot of heart. B+