Fight Scenes And Movie Reviews

[Uke]

One of my favorite scenes is when Speakman goes into that Korean TKD gym and takes on that TKD guy, gets inside of his kicks and starts using his hands in the way a kenpo stylist does.

That was mine too, Tom. Although I loved the way he used the sticks inside Kim's shop when the Korean mafia soldiers are shaking Kim down for money too.

[Garland]

Here's a short essay I wrote for a film class Senior year of highschool...the film is Yojimbo

Akira Kurosawa’s choreography greatly reflects Japanese style art and poetry. The final climactic scene of the film Yojimbo is a great example of his use of film as a medium of expression, and may perhaps also give some insight into Kurosawa’s own unique style as a film maker. Akira Kurosawa’s works include a variety of genres, but he is most noted for his samurai films that document the feudal eras of Japan. His filmography includes several well renowned films, such as the critically acclaimed Seven Samurai, Ran, Rashomon, Yojimbo, Sanjuro, Throne of Blood, and many others. His films have inspired many directors who tried to copy his films outright, such as Kihachi Okamoto’s Sword of Doom(1966), who even used Kurosawa’s usual leading actor, the great Toshiro Mifune, to American “spagetti-western” directors like Sergio Leone who directed a western version of Yojimbo(1961) called Fistful of Dollars(1967) with Clint Eastwood playing Mifune’s role as a traveling gunslinger instead of a wandering ronin, or master less samurai, and more recently the remake of the Clint Eastwood picture Last Man Standing(1996) with Bruce Willis as the staring role.
Kurosawa’s films reflect on the philosophy that it is better to have things shown rather than said, and that less is more. Subtle hints and gestures mean so much more than over-the-top scenes. This is very much like many other mediums of Japanese art, such as the poetry styles of hokku and haiku, which use language to accurately depict a scene in under seventeen syllables. Needless to say, this allows you to greatly cut the fat and padding around the story and allows the director to get his meaning across to the audience without any excess baggage. In his refined mastery of this technique, Kurosawa is like a modern-day Basho of cinema.
To fully understand the meaning of the last few minutes of the film, and in order to truly savor the final scenes of the movie, you need to know the story.
Toshiro Mifune plays a skilled traveling ronin, or master less samurai who is looking for work after the end of the feudal system in Japan. With the rise of the working middle class, and an end to the land and gentry politics that fed the samurai class, many samurai, who could be compared to the knights of Europe, were forced to become wandering mercenaries and bodyguards in order to survive. The ronin’s name is never mentioned in the story, but when he’s asked to provide one, he looks out over a field and says “field” or Yojimbo. As the samurai is traveling he comes across a small cottage on the outskirts of a sparse village. The farmer’s that live there are arguing with their teenage son who is running away to make his fortune working at one of the rivaling gambling dens in town. Overhearing all of this, the samurai makes his way towards town and asks a local shopkeep the story of the rivalry. He befriends the shopkeep who reluctantly helps him profile and play both groups of gamblers off of each other, and to start a bidding war to acquire him as a mercenary. Needless to say, things go afoul, and one “family” of gamblers is wiped out and he is beaten almost to death before slimly escaping with his life. When the shopkeeper takes Yojimbo in and hides him in a hut in the local cemetery until he can regain his strength, the shopkeeper is kidnapped by the remaining gamblers and strung up in the middle of the town. Yojimbo is told what has happened by the shopkeeper’s friend, the coffin maker, and straps on his sword, despite great injury and no planning, and sallies forth into the village...

Wide angle shot- the ronin stands alone in the background, his silhouette visible behind a wall of dense billowing smoke, behind him lay the ruins of a gambling den and an overturned plow.
Cut out to another, larger, wide shot- this time we can see two gamblers playing cards at the feet of a bound man who is hanging by his wrists with his arms pinioned behind his back. Yojimbo is standing still in the background with his arms tucked neatly inside the sleeves of his hakama. The town sheriff, who is useless for anything other than a time keeper comes out of his hut and clacks two wooden planks to announce the time....clack....clack, he pauses after the second clack with a jolt as he sees Yojimbo’s profile outlined against the burning house. The sheriff runs for cover, and the gambler sitting closed to the camera makes eye contact with the gambler sitting open to the camera and they both look towards the lone man. The gambler who is sitting open to the camera-also farther- jumps to his feet with a yelp and runs with his companion into the house to the left of the camera. The camera follows them by crossing up at a 75 degree angle and waits until they come back outside. The bound shopkeep keeps us company for about five seconds, not moving or blinking an eye. When the gamblers return, they bring company, which overflow both sides of the screen as they enter from stage left. The viewer can’t see many of the men on screen due to the positioning of the shopkeeper.
Cut close wide angle- Yojimbo is standing there unalarmed, with his arms rolled up into the sleeves of his shirt against the howling wind and rolling smoke and dust.
Cut to a wide angle- ten men have lined up against Yojimbo, the man in the middle is about Yojimbo’s age, and is, by the looks of his dress and his composure, a samurai. He too has his arms folded inside of his shirt. The bound man can barely be seen in the background, it is completely apparent that Yojimbo must go through these men in order to free his friend.
Cut to behind Yojimbo, we can see Yojimbo’s back in the foreground and his opponents in the background, he starts to walk forward with one leg crossing the other, his body is straight, with no bouncing or sway in his hips or shoulders, but his movements are fluid and not rigid. A snare drum begins to play in the background.
Cut to a wide view of the gamblers, they are all lined up behind the other ronin, and walk forward to match the same drawling pace of Yojimbo. The coffin maker runs quickly behind Yojimbo’s opponents crossing from stage left to off stage right.
Cut to a profile shot of the coffin maker looking around for the shopkeeper. He looks to the left, and seeing him, jumps to untie his friend.
Cut to a wide shot of the gamblers backs, the viewer can see the top of the coffin makers head as he runs under the view of the camera, up stage. Yojimbo’s opponents walk lazily towards him, following the pace of the ronin leading their slow and steady charge. The camera moves behind them following their pace. The ronin in front is swaying his shoulders confidently back and forth with each step, as are his whole crew. You can see Yojimbo walking towards the camera from the background.
Cut to a side view of the coffin maker and the shopkeep. The coffin maker cuts the shopkeep down and starts to untie him. When the coffin maker removes the shopkeep’s gag, he tells him in an urgent tone, “Quick, Get away while he’s fighting Ushi-Tora and his men!” The shopkeep defiantly struggles away from his savior, his arms still pinioned behind his back, and yells in a raspy voice, “You told him? You stupid meddler!” The shopkeep runs towards the camera and calls for the coffin maker to hurry. They both run forward about three steps before stopping dead in their tracks, captivated to watch the fight unfold.
Cut to the gamblers’ backs as they start to unsheathe their swords, the camera continues to follow their pace forward as they walk tentatively towards the lone warrior. A piano can be heard in the background along with the snare.
Cut to Yojimbo’s back, who keeps on walking forward with a fearless, nonchalant stride as the rest of his opponents draw their weapons in the background. The camera follows behind him slowly.
Cut to a mid-level shot of the gambler’s, we can see Yojimbo’s main opponent, the other ronin who is leading the charge against him, smoothly remove one of his arms from his sleeve with one fluid motion, revealing a handgun, which he points with one hand straight at the camera, which is moving back with every step he takes forward.
Cut to a mid-level shot of Yojimbo, his arms are still tucked away in his sleeves, and he is still moving forward, with no visible indication of any feeling what-so-ever. Smoke goes tumbling by just close enough in front of him to partially hide his face.
Cut to a mid level shot of the “gunman”, who continues to hold his pistol out at shoulder’s length in front of his body, and steady towards the camera. His calm and strut match that of Yojimbo’s, only he’s now sneering at the camera with complete confidence , whereas Yojimbo, to this point, has let no show of emotion at all cross his stoic face.
Cut to Yojimbo at mid level, he is now closer than ever, the smoke and dust are billowing behind him instead of in front of him, he is now completely visible and in full frame.
Cut to the “gunman” at mid level, he is no longer smirking, but looks a little confused and concerned, perhaps he’s wondering why Yojimbo hasn’t drawn his sword or rushed forward.
Cut to Yojimbo mid level shot, his hardened face is looking straight at his opponents, but gives them no awknowledgement. Yojimbo continues to just stare straight through them as he walks forward.
Cut to behind the gamblers, Yojimbo is continuing to close on them at his slow and seemingly carefree stroll. They walk forward with their cautious trot until they are maybe twenty feet apart.
Cut to a mid level view of the “gunman”, he speaks as he moves forward, but his gun and his upper body stay stationary. “Don’t come too close.” he warns as he stops walking forward. The look on his face now is that of concern and fear.
Cut to Yojimbo, who smiles wide and shrugs his shoulders inside his shirt one at a time, but keeps moving forward.
Cut to a chest level view of the “gunman”, shocked and scared takes a step back and looks as if he could bolt off in any direction at the drop of a hat.
Cut to a close up of Yojimbo from the chest up, his arms shoot out of their sleeves at ninety degree angles. Yojimbo’s theme song begins to play.
Cut to behind Yojimbo at a sixty degree angle to the left, he rushes across the screen at a diagonal with his body held at a crouch to avoid becoming an easy target for the man with the gun.
Cut to the man with the gun at waist level, who rushes to intercept Yojimbo and places both hands on the gun and cocks the hammer.
Cut to Yojimbo who draws a kitchen knife from his waistband and tosses it toward the camera.
Cut to behind Yojimbo, here the extension of his arm along with the release of the blade can be seen. After the knife had been released, Yojimbo immediately ducks and runs forward at an angle to avoid the “gunman”’s line of fire.
Cut to a close up of the “gunman”, who holds his arms above his face in horror to reveal that the blade has landed soundly in the belly of his right forearm. He sees Yojimbo racing towards him under his arms and gasps.
Cut to a forty five degree angle of both Yojimbo and the “gunman”, Yojimbo now for the first time puts his hands on the handle of his sword and it’s scabbard. He continues to run crouched over.
Cut to the “gunman” who struggles to aim and fires his weapon harmlessly into the air.
Cut to the same forty five degree angle with Yojimbo and the “gunman”, Yojimbo, without breaking stride, draws his katana from it’s sheath horizontally across the “gunman”’s stomach with a one handed iai style slash.
Upon closer inspection you can note how Toshiro Mifune (Yojimbo) draws the sword with the right hand on the uppermost handle of the sword whilst turning the scabbard to the left forty five degrees to make an instant, fluid cut as he removes the sword from it’s resting place. This is a typical technique of the iaido school of swordsmanship, which focuses on an instant lethal cut delivered as you remove the sword from it’s sheath.
Also note how this initial cut made with the right hand leaves the bottom part of the sword’s handle free. This is absolutely essential to setting up the rest of the fight’s choreography. You cannot use a katana or samurai sword effectively with just one hand. The left hand is used to pull -not push- the blade, the right hand’s job is simply to guide the sword to it’s mark and provide a sharp turning wrist motion, like wringing out a towel, in order to actually cut through something.
Yojimbo continues to make short work of the gamblers with the camera following the action side to side with no cuts. He cuts the man nearest him from top right to bottom left, and then across horizontally to set up a horizontal slash in the opposite direction to the man closing in on him from upstage left.
Cut to the remaining gambler, who Yojimbo recognizes as the farmer’s prodigal son. Yojimbo chases the boy into a corner, and as the boy stretches his back to the wall as cries out for his mother, Yojimbo chastises him and tells him that “A long life eating mush is best”, compared to a short life of luxury and vice. The boy runs off screaming hysterically. Yojimbo taps his sword once lightly and makes a small swish with the blade to “throw” the remaining blood from it as he sheaths it. This is a ritual sheathing, and is practiced in training even today regardless if any blood is actually spilled. His work is done, and his friend is safe.

The stoicism and headstrong resolve of the samurai in the film is probably not unlike that expected of actual samurai, who had to follow certain codes of ethics and were expected to be almost like machines in their actions, perfect retainers in the service of their masters, these are the primary teachings of Budo and Bushido. Kurosawa’s knowledge of this and his knowledge of the skill and manipulation of the blade were presented subtly, but create a feel of complete understanding for the viewer. To the untrained eye, the ronin Yojimbo’s battle against multiple opponents and unbelievable odds seems plausible for no particular reason perhaps other than the fact that he’s the story’s protagonist and anti-hero, but the way he Toshiro Mifune moves, and the way Kurosawa shows the characters during their stand off gives off an undeniable sense of reality. When you look at the choreography and the characterization, the way the samurai size each other up, it all seems to fit together concisely with no need for further explanation. Welcome to samurai style film making.

[Garland]

I have sort of a "thing" for Asian gangster movies... here's the top of my list;

Japanese
Sympathy for the Underdog http://www.rottentomatoes.com/m/symp..._the_underdog/
The Yakuza Papers http://www.kinocite.co.uk/0/84.php
Sharkskin Man and Peach Hip Girl http://www.lovehkfilm.com/panasia/sh..._peach_hip.htm
Sonatine http://www.sensesofcinema.com/conten.../sonatine.html
Brother (a must see) http://www.plume-noire.com/movies/reviews/brother.html
9 Souls (another MUST see) http://www.midnighteye.com/reviews/9souls.shtml
Gozu (this one is fucking BIZARRE!) http://www.midnighteye.com/reviews/gozu.shtml
and...the Takashi Miike classics.
...just buy this book. http://www.amazon.com/Yakuza-Movie-B.../dp/1880656760
and if you are fluent in Japanese...this may help you understand further what the hell these guys on film are saying

http://www.jingai.com/yakuza/introduction.html

Recommended Movie List:

1960s Romantic Gangster Films

Director

Suzuki Seijun: Branded to Kill (Koroshi no Rakuin), Tokyo Drifter (Tokyo Nagaremono), Youth of the Beast (Yaju No Seishun), Kanto Wanderer (Kanto Mushuku)

Masuda Toshio: Velvet Hustler

Hasebe Yasuharu: Black Tight Killers (Ore ni Sawaru to Abunai ze)

1970s Brutal Realism

Director

Fukasaku Kinji: Battles without Honor or Humanity (Jingi Naki Tatakai), Yakuza Graveyard (Yakuza no Hakaba: Kuchinashi no Hana)

1990s Revival of a Genre

Director

Kitano Takeshi: Brother, Fireworks (Hana-bi), Violent Cop

Itami Juzo: Minbo or the Gentle Art of Japanese Extortion

Sabu: Postman Blues

Chinese
Time and Tide http://www.sensesofcinema.com/conten..._and_tide.html
any of these John Wu movies List Of Movies :
"A Better Tommorrow" (1986)
"The Killer" (1989)
"Hard Boiled" (1992)
"The Replacement Killers" (1998)
"The Corruptor" (1999)




Korean
Friend http://www.lovehkfilm.com/panasia/friend.htm
Gangster's Paradise http://www.beyondhollywood.com/revie...rsparadise.htm


there's a start on those...Asian period pieces come later...followed by movies with the overall best fight scenes broken down into fantastical and realistic. I also focus on things like PLOT, STORYLINE, and CHARACTER DEVELOPMENT, as well as the ESOTERIC or OBSCURE films...so I like some odd shit...
GO RENT WHAT I PUT OUT HERE...seriously...there's a lot of range just in the above list, find one that fits you, and you'll be suprised at some of these...if you like gorey shit, go for Ichi the Killer, if you like realistic shit, go with the Yakuza Papers, if you like really weird shit, go for Gozu, if you want strange but uplifting "Sharkskin man and peach hip girl" or "Time and Tide"...if you want deeply emotional and very Japanese storylines...rent "Sympathy for the Underdog", or any of Beat Takeshi/Takeshi Kitano's movies like "Sonatine" or, if you want to see the badass himself with Omar Epps in an American setting with the same Japanese theme (the THEME and STYLE translated for American pallates) get "Brother".

I suggest you start with Brother, then move backwards through the list, ending with Gozu and Sympathy and finally Sonatine if you want to watch them all.

[Garland]

If you don't cry like a bitch at the end of Sonatine, Sympathy, or Brother...you have no soul.
They get me every single time.

9 Souls is enough to make you stay home the rest of the day and think about what you just saw.

Gozu is impossible to understand, so its worth (if you have the stomach) watching over again like a decent David Lynch film.

[Garland]

Next time someone bitches at me for being long-winded, I'm linking them to this thread, Garland.

Go rent Gozu.

[Garland]

Thai Cinema is bizarre, and is either quality or crap.

To see some quality, B-Movie Thai Trash Cinema, check out "Sars Wars: Bangkok Zombie Crisis" (I did NOT just make that up...it exists, look it up)...one of the worst films I've seen aside from "Salo" (about Nazi shit eaters, I had to see it because I heard it was so awful, that after it's premier, the audience wrested the director out of his seat and ran him over with his own car seven times.) and...ugh..."Trailer Town" (a Troma classic, the same group that brings you gems like "Toxic Avenger" "Story of a Junkie" "Tromeo and Julliette" and "Tales from the Crapper" about sick ass old trailer park denizens who talk explicitly about the most foul sex acts you can imagine...the people talking are more foul than the acts they describe...imagine Bey Arthur with her teeth missing, liver spots and saggy bossum talking about...well...lets leave it at that. Long story short...Some asshole bought it for me, and I have YET to stomach it all the way through.)

[Uke]

Hehehe@ Mike. It was long, but it was packed with information. Thanks, Garland. I'm not sure if Ichi the Killer is the same "The Killer" with Chow Yun Fat, but if it is, that is one of the best choreographed movies ever.

Its a gun movie though, which we said we wouldn't do. But nonetheless, its a fantastic movie with more action in the first couple of scenes than most movies have in the first hour. Its complete insane yet has action that is captivating.

Thanks for all the info, Garland. I was actually waiting for someone to mention Akira Kurosawa, as he is said to have revamped how action movies are made today. I've never been a huge fan, although I am well aware that almost everything he's made is regarded as a classic. Maybe I should give his work another chance.

[Uke]

I thought of another great one that's outside the norm. One of the best choreographed fight scenes ever in my opinion has to be the sword duel between Wesley and Inigo Montoya in the Princess Bride. Even the terminology they were using to describe each others tactics was accurate (..."unless the opponent has estudied his agrimper (flips over Wesley) which I have.") and the fact that both players and their doubles learned to be so fluid and believable with their left and right hands was impressive. When you look back at the duel on video, look at their lunges and sidesteps. They're pretty accurate, and the thrusts and slashes with the swords look like they are aiming to hit the other man instead of that usual Hollywoodism of aiming at the other guy's blade. Also, each man fought with a distinct style and attitude consistent with his character. Wesley was not as polished, but he was absolutely stoic, whereas Inigo's swordplay was full of the style and finesse of a man who's studied swordplay his whole life, but he was fiery and emotional in spots, as his Spaniard character suggested all along. I thought the scene was brilliant.

Its funny that you'd bring this movie up, Mike. Its a great movie and its been one of my favorites, but I honestly don't think that I would have thought to bring it up here. Your right, that scene was very good, and realistic as far as sword play goes. I loved the little saying that Inigo Montoya would say every time he fought. It was like a rehearsal for when he finally fought his father's murderer.

Hello. My name is Inigo Montoya. You killed my father. Prepare to die."

My favorite part was at the end when he(Inigo Montoya) was wounded, but he kept fighting and repeating that phrase so much that Count Rugen finally says "Stop saying that!". Hehehehe ... gotta love that.

Great review Mike, and an excellent scene to highlight..

[Uke]

Yet another great scene from Mike Brewer! I don't think that anyone watching "The Rundown" for the first time saw that scene coming. There was no lead up to it, and it was explosive! But you know what Mike? That wasn't my favorite fight scene in that film, even though it was a great one.

My favorite fight scene in "The Rundown" was in the beginning when he fought all the football players. I thought it was great. Fast paced, hard hitting and it was all done in Rock's kick ass style. Using a turntable to stop a running foe? That was another classic scene.

Thanks again Mike!

[osopardo]

One of the best choreographed fight scenes ever in my opinion has to be the sword duel between Wesley and Inigo Montoya in the Princess Bride...

or

Inigo vs. Count Rugen:

Inigo: "Offer me anything I want in the world!"
Rugen: "Yes! Anything!"
Inigo: "I want my father back, you son of a bitch!"

The first time you ever see that scene, that line gets everybody.

The serious parts of that movie suffer so much because of all the other attendant silliness (which carries it's own great value) and the fact that it's generally perceived as a child's fairy tale.

[osopardo]

While we're on the topic of sword play;

The Last Samurai

specifically, the scene where Algren gets some very tough lessons on handling a sword while he's a captive in the samurai village; a scene which seems to be a conceptual clone of the fight scene in "Cool Hand Luke" between Luke and Dragline.

[Garland]

Hehehe@ Mike. It was long, but it was packed with information. Thanks, Garland. I'm not sure if Ichi the Killer is the same "The Killer" with Chow Yun Fat, but if it is, that is one of the best choreographed movies ever.

It's not...Ichi The Killer or Korouyoshu Ichi = Japanese extremist Takashi Miike
The Killer = Chow Yun fat, directed by John Woo....very Chinese, Hong Kong Cinema.

For more kickass Hong Kong style shoot'ems
check out "Fulltime Killer" with Andy Lau...top quality gunfights.

[Uke]

The Last Samurai

specifically, the scene where Algren gets some very tough lessons on handling a sword while he's a captive in the samurai village; a scene which seems to be a conceptual clone of the fight scene in Cool Hand between Luke and Dragline.

That scene always reminded me of The Challenge aka Sword of the Ninja, starring Scott Glenn. The story in The Challenge is a little different with a lot of similarities to The Last Samurai.

Both Cruise and Glenn live among the samurai and learn their ways. They both eventually empathize with the samurai and side with them. They both fall in love with a women member of the leader's family. Very similar.

My favorite fight scene in The Last Samurai is a tie. The first is the ninja assault on the village. The second is when Cruise is accosted in an alley way by several assassins, kills them all but you really get to see the sequence in depth in slow motion. I guess I'd have to pick the second scene as my favorite.

Great pick, osopardo

[Uke]

My movie that I'd like to discuss is one of my favorites: The Bourne Identity. Its a great movie with great fight sequences, and a great story as well. That's something you see too much in action films.

Matt Damon plays Jason Bourne, a man who wakes on a boat with no memory of who he is, where he is or anything else for that matter. When he reaches shore, he begins his quest to find out who he is.

The action is this movie is just as good if not better than "The Hunted". Matt Damon playing a kick ass leading man seem like a stretch if you've ever seen him before. Sort of like Tobey Maguire pulling off Spiderman. But like Toby, Matt pulls of The Bourne Identity convincingly. Great acting. Great plot. Overall I'd have to rate this one at the top for having a strong plot with great supporting characters along with Damon pulling of fight scenes worthy of Jet Li or Wesley Snipes.

My favorite scene in The Bourne Identity was when Damon and his leading lady are in his apartment. He can't remember ever being there, but according to the paperwork and the land lady, its his place. Damon proceeds to check it out cautiously, and at one point even does a smooth "hide and release" maneuver with a knife to keep the girl from being alarmed. Just when they thinks everything is fine, a man busts threw the window firing an automatic rifle. Right then, a great fight sequence ensues. I don't want spoil this for anyone, but Matt Damon sells this scene cold. The choreography is reminiscent of The Hunted, but a bit different. All I can say is its all about the pen being mightier than the sword! In this same sequence, Damon is knocked on his ass and uses a beautiful kicking technique to not only create distance, but to get up off the ground to continue the fight.

EXCELLENT SCENE!!!!

I'd also highly recommend watching this one. I didn't care for the sequel as much, but it adds to the continuity of the storyline. See when you can.

[Garland]

In case my previous links were not sufficient enough to get you kids off your asses and renting these videos...he's some clips to help you make your decisions.

Japanese
The Yakuza Papers

http://www.youtube.com/watch?v=8q4FFnJKUqA

Sympathy for the Underdog

http://www.youtube.com/watch?v=lWAZxzS-rRo

Ichi the Killer

http://www.youtube.com/watch?v=rV8zTr8mqRY

Sharkskin man and Peach hip girl

http://www.youtube.com/watch?v=SoV3hGNsofk

Brother (watch this intro...look how he handles being held hostage)

http://www.youtube.com/watch?v=qzUMsRctXb4

Sonatine

http://www.youtube.com/watch?v=sJ-4iaMLKIs

Gozu

http://www.youtube.com/watch?v=0NHYAJOJX6M

http://www.youtube.com/watch?v=87RvtFygSr8 (yeah...weird.)
9 Souls

http://www.youtube.com/watch?v=DDgwLo-st8c

Korean
Friend

http://www.youtube.com/watch?v=_8LIh6ATbkw

Chinese
The Killer

http://www.youtube.com/watch?v=d9e3qPbbnm4

Hard Boiled

http://www.youtube.com/watch?v=KeIgQPyyztc

Fulltime Killer

http://www.youtube.com/watch?v=-3iM7tFcCIM

Time and Tide

http://www.youtube.com/watch?v=KrYodRKzTNg

This Thai shit beats "Snakes on a Plane" hands down

http://www.youtube.com/watch?v=QkRJpjNoH1k

and just for shits and giggles, the best series on tv just had its series finale on sunday;
http://www.youtube.com/watch?v=2hJAodPlkx0 take a guess at what its about.
he handles shit well and keeps his cool...

http://www.youtube.com/watch?v=RnE3rm9ItoI

http://www.youtube.com/watch?v=ZzZybWFu3Dw&mode=related&search=

then he gets buckwild and starts offin' fools (actually, its a very well written "psychodrama" in both senses, a drama about a psycho, and a psychological thriller, with some pretty on-spot insight, although over dramatized, onto a highly functioning serial killer with antisocial personality disorder...in the end, the guy becomes a protagonist, and the storyline is awesome)

http://www.youtube.com/watch?v=WYOWf0dkubA&mode=related&search=

The bad guy in the series and Dexter himself are both pretty savvy, the fight scenes are well done, and include what looks like a few thai boxing moves (low roundkicks, knees from the prummb) alot of RNC's, some Judo throws, and even some silat (a fight with a fellow cop that turns kinda nasty with an armcrank, head into a storage container, and a esophogeal squeeze...NASTIE) and FMA...as can be seen from Dexter trying to figure out a pattern for blood spatter with a knife on a case)