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PaperclipPerfector  4d ago (text post)   2207 thread views

Friday Fun Thread for March 6, 2026

Be advised: this thread is not for serious in-depth discussion of weighty topics (we have a link for that), this thread is not for anything Culture War related. This thread is for Fun. You got jokes? Share 'em. You got silly questions? Ask 'em.

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Last week @Lizzardspawn asked why none of the sequels to the first two Terminator or Predator movies have been any good. Having only seen the first Predator and Terminators 1 and 2, I wasn't really in a position to comment on the inferiority of the sequels, but offered my two cents anyway based on my secondhand knowledge of Terminators 3-6. This got me thinking about Terminator 2 and I ended up reading the entire Wikipedia article (and the sub-article dedicated specifically to its special effects). Last Friday we sat down to watch a torrented version of the rerelease for Blu-ray which includes all of the cut scenes. It still looks great, although annoyingly there were a few points in the first half of the movie in which the colour grading would change dramatically in consecutive shots (I don't mean consecutive scenes: I mean consecutive shots in the same location), which was distracting and a rather glaring oversight for a rerelease apparently overseen by Cameron himself. It also ends with the corny, sentimental ending I criticised last week, rather than the "open road" ending from the theatrical release. But all that aside, the film still holds up, many of the visual effects still look positively jaw-dropping thirty-five years later, and the film is a true landmark in action films.

This got me thinking about my favourite action films, in no particular order:

  • Terminator 2: As above.
  • The Matrix: Perhaps the only film that can rival Terminator 2 for innovation in visual effects, and a spellbinding sci-fi romp on top of that.
  • Die Hard: my brother and I have a tradition of watching this every Christmas, to the point that I daresay I could probably recite the entire film from memory with some prompting. Nothing beats bellowing "no more table!" in a thick Teutonic accent with a glass of Bailey's.
  • The Rock: probably my single favourite action film ever. Whatever one might think of Michael Bay's "chaos cinema" style more broadly, it works here. Nicolas Cage's goofiness had not yet veered into outright self-parody, Sean Connery remained as wryly charismatic in his sixties as peak Bond, and Ed Harris lends palpable gravitas to an anti-villain whose motivation is more sympathetic than any of the protagonists' (it's amazing to me that Harris never served: he's completely convincing as a military man). It's an action film in which violence is deployed both for cathartic escapism and for heart-rending pathos (the scene in which the SEAL team is gunned down in the shower room is a moving audio-visual statement on the pointlessness of war), without any consequent feeling of tonal dissonance. It's an unusually cerebral and literate action film which offers thought-provoking meditations on the morality of American military adventurism, while still finding the time to have fun and give us great lines like "Your besht? Loshers always whine about their besht. Winners go home and fuck the prom queen."
  • Speed: I was positively obsessed with this film as a small child, a testament to the power of raw sound and image to overpower one's critical thinking faculties. Even ignoring the film's brazen disregard for the laws of physics, one could fill a book with the plot points that don't make a lick of sense or are dependent on contrived coincidences – and yet, in the moment, one simply doesn't care. Probably Keanu Reeves's best performance ever (admittedly not a terribly high bar to clear), his chemistry with Sandra Bullock* is believable and irresistible, Dennis Hopper offers perhaps the most entertaining action-movie villain since Hans Gruber, and the soundtrack is memorable, exciting and emotive.
  • Saving Private Ryan: More of a war film than an action film proper, although its impact on the genre is impossible to dispute. Even people who don't like the film as a whole will concede that its depiction of the Omaha beach landing set the tone for how action movies would look, sound and feel for decades afterwards.
  • The Fugitive: I only watched this film quite recently, but it deserves its place in the canon of action-thriller films for grown-ups. On a second watch I was struck by how vacant and anonymous Harrison Ford's leading man turn is: Tommy Lee Jones is the film's real protagonist, and steals every scene he's in.
  • Total Recall: As discussed here. The film which best encapsulates Philip K. Dick's entire aesthetic, and the best Paul Verhoeven film I've seen (I'm curious about Starship Trooopers and Showgirls).
  • Heat: Like Saving Private Ryan a marginal example, and more of a crime thriller than an action film. In a runtime of nearly three hours, it only contains two or three real action setpieces, but one of those happens to be one of the most tense, nerve-wracking and explosive shootouts in cinematic history, so it would be remiss of me not to include it.
  • Predator: Right up there with Terminator 2 as far as action/sci-fi goes, and I like that it's not as self-serious in tone.

Are there any recurring patterns here? Nostalgia obviously plays a major role: several of these films (Speed, The Rock, Terminator 2) were films I watched repeatedly on VHS as a child. Relatedly, there are no entries from this century (excepting the marginal case of The Matrix Reloaded, which I'm counting under The Matrix). Every film is also American: I've heard great things about Asian action cinema, but both times I tried watching Hard-Boiled I turned it off about half an hour in.

What would you say your favourite action films are? Are there non-American action films that I really must see? Are there any from this century that I really ought to check out? (Before anyone mentions John Wick: I will concede that its action sequences are expertly choreographed and filmed, but when I watched it a few years ago I came away feeling distinctly underwhelmed, finding it stylistically confused and at odds with itself.)

*Rumour has it that no other than Ellen deGeneres was the frontrunner for the role. I feel quite confident that, had they gone with this, it would have derailed the entire film.

If martial arts are your thing, the Raid and The Raid 2 are both excellent and showcases for silat. The first in particular is about as lean and as tense and insane as an action movie can get with limited resources. Second one is larger and nowhere near as tight but is far grander in scope and execution. In the same vein, The Night Comes For Us is also great but requires a strong stomach as the gore in it is extreme.

Donnie Yen has a patchy filmography, but Ip Man and SPL are genuinely good films even ignoring the action. I have a soft spot for Raging Fire as the goodbye for Benny Chan. We've passed peak Donnie, though; he was faster earlier on in his career. He's improved as an actor and as an action director, but physically he's past his prime and there's no real replacement.

I still recommend trying to power through Hard Boiled because you about stopped at the point it starts to get truly batshit. However, if you seek realism in your action, that's not where it's at.

If you enjoyed Heat, I recommend watching Cold Eyes, a Korean flick from a while back. It's not really an action film, but it includes some impressive action regardless and some tense, well-constructed sequences.

Mad Max: Fury Road is an ode to tricked-out car chases, to excess and beyond, with exceptional production design. Bullet Train is a remarkably funny and sharply edited movie, a fun distraction full of bright lights, charisma and cool people doing cool things even if the final act is subject to a bit too much CG nonsense.

The first Raid movie was the first time I watched a martial arts film that sold me on the "these guys aren't choreographed, they're hitting each other for real" element.

Which simply means that they were immaculately choreographed, but the EVERY strike was delivered like they wanted the other guy dead. And still maybe only time I've seen a two-on-one fight where I truly believed the two weren't holding back and the one was still winning.

There are a significant number of hits in that movie that were not pulled. People just ate hits for the action gods, and it was filmed in Indonesia, so paltry things like actor safety, insurance, etc. were not a primary financial concern. They also went through about half a year to eight months worth of physical training to even pull it off, and were lucky enough to have Yayan Ruhian involved.

Yeah, it surely helped that these guy were absolute no-names so no need to get prissy about the physical demands/possible injuries.

Which created a bit of a contrast when Ruhian and Rahman showed up in John Wick 3 and the fact that it was choreographed and they were pulling punches and waiting their turn was blatant by comparison. Not really buying it, even if they bother to spotlight the respect the fighters have for him.

Sorry John, if it is hand-to-hand then Mad Dog solos you.

Okay, to contrast and add to the point, the OTHER time I saw a two-on-one was that was a believable challenge is that infamous Mission Impossible fight. "Yeah, I can accept Henry Cavill getting bodied by an Asian half his size, that guy is badass."

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