The Furious Feature Scores
Explore all 44 feature scores for The Furious, organized into pros and cons.
Scores by Feature
Summary
44 reviewed features-
Very positive 4.5-5.023 (52%)
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Positive 3.5-4.47 (16%)
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Neutral 2.5-3.45 (11%)
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Negative 1.5-2.47 (16%)
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Very negative below 1.52 (5%)
Pros
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The fight sequences are exceptional: inventive, punishing, clearly staged, and constantly escalating. Prop-based combat, layered group choreography, and the five-way finale make the action feel genre-leading.
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Xie Miao’s wordless intensity and physical presence carry the film, while Joe Taslim provides charisma and a complementary style. Their control, athleticism, and expressive action work are exceptional.
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The reliance on trained performers, long takes, and visible in-camera movement is one of the film’s biggest attractions. Very little of the action feels dependent on doubles or glossy digital fakery.
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The camera moves with the fighters while preserving spatial clarity, often using wide shots and energetic long takes. A few moments feel slippery, but the visual coverage is overwhelmingly praised.
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For action fans, the film is an exhilarating, funny, and highly satisfying ride. Its weak writing rarely diminishes the sheer pleasure of the physical spectacle.
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Every punch, break, and impact is reinforced by aggressive, detailed sound design. The crunches and thuds make the fights more immersive, frightening, and satisfying.
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The basic plot is familiar, but the action language feels genuinely fresh. Props, bodies, styles, and group movement combine in ways that rarely resemble standard modern action filmmaking.
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The movie is built for a loud communal experience, with applause, laughter, gasps, and cheering enhancing its impact. It plays like a raucous crowd-pleaser.
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The movie moves with relentless, high-energy momentum and rarely allows the action to cool down. A few viewers found the sustained intensity exhausting or thought the first two-thirds held back before the finale.
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Kenji Tanigaki’s direction is a major strength, presenting complicated movement with confidence and clarity. He turns a basic premise into a showcase for world-class physical filmmaking.
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The central pair works well because their contrasting styles and shared purpose make them feel complementary. The father-daughter relationship also gives the action a convincing emotional anchor.
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Editing is generally clear and rhythmic, letting completed moves land instead of hiding them behind frantic cuts. The sped-up look of the final fight is a rare visual misstep.
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The international cast and mixture of Chinese, Indonesian, Japanese, Thai, and Hong Kong action traditions give the film a distinctive Pan-Asian identity. The blend remains compelling even when the vague setting feels artificial.
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The cast earns strong marks for physical commitment, while traditional dramatic acting receives more mixed reactions. Performances are most convincing when emotion is expressed through movement rather than dialogue.
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The intricate choreography and dense physical detail give the movie strong repeat-viewing appeal. Favorite fights contain enough layered movement to reveal new details on another watch.
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The hard-driving music adds momentum and gives the fights a charged, theatrical pulse. The forceful soundtrack is a strong companion to the nonstop movement.
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The film balances bleak subject matter with cartoonish physical excess and grim humor surprisingly well. The contrast can be jarring, but it usually feels energizing rather than careless.
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The father-daughter bond and anger at the traffickers give the action real emotional force. Some dramatic beats land less effectively, especially when the dubbing or late-story structure gets in the way.
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The central rescue mission is straightforward and easy to follow. Its clarity keeps the movie moving, though the minimal plotting can feel underdeveloped.
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The anti-trafficking message is direct, emotionally accessible, and fueled by anger at corrupt institutions. Some find it simplistic, while others appreciate the cathartic call for protection and accountability.
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Long takes and visible physical effort make the fights feel tactile and authentic despite wildly unrealistic durability. Scrappy movement and practical execution sell the impact even when the physics become cartoonish.
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The supporting performers add memorable personality and varied fighting styles. Brian Le and Yang Enyou receive particular praise for making their roles more vivid than the thin script requires.
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The film has a gritty, kinetic look that favors full-body movement, industrial spaces, and oily urban textures. Its visual approach makes the action feel distinctive rather than polished into generic spectacle.
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Enthusiasm is exceptionally high, with the film widely positioned as the year’s best action release and one of the strongest martial-arts movies in years.
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The movie delivers exactly what martial-arts fans want: escalating hand-to-hand combat, distinct fighting styles, and spectacular physical skill.
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The rescue stakes, breathless chases, and dangerous close-quarters fights keep tension high even when the plot is predictable.
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The movie finds grim humor inside its brutal fights, using absurd props, exaggerated durability, and sudden comic reversals. That dark playfulness helps keep the carnage from becoming monotonous.
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Industrial freezers, crowded clubs, tenements, streets, and a battered police station give each fight a distinct physical playground. The environments actively shape the choreography.
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The electronic score heightens the film’s already intense action and helps make major set pieces feel even more forceful.
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Beneath the mayhem, the film shows sympathy for exploited children and anger at wealthy, protected criminals. The social perspective adds weight, even though the themes remain direct rather than deeply explored.
Cons
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Awkward English dialogue, conspicuous ADR, and clunky dubbing are persistent distractions. The next fight usually arrives quickly enough to keep these flaws from sinking the movie.
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The screenplay is widely viewed as functional at best, with thin plotting, blunt dialogue, and obvious dramatic shortcuts. It succeeds mainly by creating reasons for the next elaborate confrontation.
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This is not family-friendly viewing despite its focus on parents and children. Graphic beatings, child endangerment, gore, and relentless brutality make it unsuitable for younger audiences.
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The kidnapping-and-revenge setup is familiar and predictable, with little novelty in the plot itself. The tradeoff is easier to accept because the combat presentation feels fresh.
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CGI quality is inconsistent: some blood effects look credible, while other blood, lip-sync work, and isolated digital shots appear obvious or crude. The physical stunt work remains strong enough to overshadow most of it.
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The practical action is impressive, but a few digital and low-budget effects look cheap, especially near the climax. These flaws are brief and rarely distract for long.
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The savage violence, profanity, and disturbing child-trafficking material make the film appropriate only for mature viewers.
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The nearly two-hour length can feel excessive, especially after the rescue plot reaches an earlier emotional peak. The extended final act may test anyone less invested in pure combat.
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The unnamed Southeast Asian setting creates a broad Pan-Asian backdrop, but it can feel vague and frustrating. The world functions more as action scaffolding than a fully realized place.
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Character work is one of the weaker areas, with the adults often feeling thin or barely developed. Distinct personalities and family relationships still provide enough investment for the action.
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The family conflict and trafficking premise provide a workable dramatic base, but quieter emotional scenes are much less convincing than the action.
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The story is intentionally simple and often effective as a launchpad for the fights, but it becomes thin, messy, or poorly organized whenever the action pauses.
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The violence is extreme, graphic, and nearly constant. Genre fans often embrace its outrageous brutality, but sensitive or squeamish viewers are likely to find the level overwhelming.
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The climactic combat is spectacular, but the surrounding resolution is uneven. The rushed wrap-up, extra epilogue, and fading dramatic stakes may leave the ending less satisfying than the final fight.