---
title: "The Furious"
year: 2026
kind: "film"
canonical: "https://film.one/film/the-furious"
fi1m_id: "the-furious"
imdb_id: "tt33311069"
tmdb_id: 1280738
wikidata_id: "Q125948183"
fi1m_score: 82
critics_score: 85
critics_reviews: 11
published: "2026-09-14"
updated: "2026-09-18T08:38:24.273800+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Furious (2026)

Directed by Kenji Tanigaki · 1h 53m · MPA R · Action, Crime, Thriller

## Identity

The Furious

- **Canonical:** https://film.one/film/the-furious
- **Type:** Film
- **Fi1m ID:** the-furious
- **IMDb ID:** tt33311069
- **TMDB ID:** 1280738
- **Wikidata ID:** Q125948183
- **Same entity:** https://www.imdb.com/title/tt33311069/, https://www.themoviedb.org/movie/1280738, https://www.wikidata.org/wiki/Q125948183

**Fi1m score: 82** · Critics 85 from 11 reviews

*In a sentence:* The dialogue needs work, but nobody should attempt a rewrite while someone is swinging a motorcycle

> Kenji Tanigaki’s *The Furious* earns our recommendation through inventive, punishing fights and the clarity with which it shows them. The thin kidnapping story and awkward dialogue matter, but they seldom get long enough to spoil the evening.

## Synopsis

A kidnapped child brings two men into a fight against a human-trafficking network in Kenji Tanigaki’s action thriller. Xie Miao plays Wang Wei and Joe Taslim plays Navin, the pair taking on the people who stand between them and those they want to save. Their search leads into a succession of physical confrontations, with martial arts driving the story. Yang Enyou appears as Rainy, alongside Yayan Ruhian as Tak, JeeJa Yanin as Matia and Brian Le as Ho. The film centres on rescue and revenge, with violence carrying much of the action.

## Review

*The Furious* knows why most people have come, and Kenji Tanigaki gets on with providing it. A kidnapping and a trafficking network give Xie Miao and Joe Taslim a reason to join forces, with little time spent making that reason unusual. We recommend it for the fighting, which is inventive enough to sustain a film that runs for 113 minutes. The writing supplies less pleasure, and the pauses between bouts can feel like time spent waiting for the actors to stop talking.

Tanigaki understands that a fight needs more than people hitting harder as it goes on. These sequences keep changing what the performers can do, particularly when objects are brought into the combat. A motorcycle becomes something to swing at an opponent, an absurd escalation carried off with enough physical conviction to make us wince. We laughed, then winced again. The joke works because the choreography makes the weight of the thing matter, even while the idea of using it this way remains ridiculous.

Meteor Cheung’s cinematography gives us wide views and extended takes, with room to follow the performers’ movements. There is pleasure in seeing the work, and in having enough space in the image to appreciate how one movement leads to another. Chris Tonick’s editing keeps the fights moving without making them difficult to read. That clarity is crucial: the choreography is busy enough without a cut requiring us to work out where everybody has gone.

The sound effects give the blows a nasty force of their own. Olivia Xiaolin and Flying Lotus are credited with the music, but the impacts are what stayed with us. This is violent entertainment that means to be felt physically, and the coordination of movement, cutting and sound largely makes that happen. There is a limit to how often another heavy blow can provide a fresh sensation, though, and the relentless tempo occasionally lets one fight blur into the next.

The weaknesses become harder to ignore when the film asks its characters to explain themselves. The screenplay, credited to Frank Hui, Shum Kwan-Sin, Lei Zhilong and Mak Tin-Shu, does little to make the kidnapping story feel particular to these people. Supporting characters remain sketchy, and the awkward dialogue is not helped by uneven dubbing. A familiar rescue plot can keep an action film brisk, but here the lack of definition also limits how much we care about anyone outside a fight.

Against the standards of martial-arts cinema, this is a strong recommendation with a familiar reservation. Xie and Taslim are persuasive in motion, and Tanigaki allows the physical difficulty of what they are doing to hold our attention. He trusts the audience to enjoy coordination and timing as much as damage. That matters in a genre where the pleasure can come from recognising how much skill it takes to make a brawl look uncontrolled.

This is an 18-certificate film, and its brutality is a considerable part of the appeal. Anyone hoping the rescue story will provide much relief from the fighting should take that seriously. For an evening of martial arts, we recommend it with patience for the dialogue and a firm warning about the violence.

*Fi1m score 82, published 14 September 2026.*

## What the critics say

The consensus is strongly positive: critics praise The Furious chiefly for the invention, precision and physical force of its martial-arts action. Praise clusters around Kenji Tanigaki’s staging and the fight choreography, with wide shots, longer takes and escalating set pieces allowing the performers’ movement to carry the film. The familiar kidnapping plot is generally treated as sufficient preparation for the fighting, though some reviews find its simplicity actively helps the pace.

The differences concern how much the shortcomings matter, rather than whether the action delivers. Thin characterisation, weak dialogue and awkward dubbing recur as reservations, but rarely dampen the enthusiasm substantially. Variety treats those flaws as things genre fans may even treasure, while Sight and Sound finds the supporting characters weak and the climax mishandled; The Guardian, by contrast, singles out the closing half-hour for its sustained intensity.

## Straight answers

**Is The Furious worth watching?**

*The Furious* is worth watching for anyone who wants an evening of inventive, punishing martial arts, and we scored it 82. Kenji Tanigaki stages the fights with clarity, and Xie Miao and Joe Taslim are persuasive in motion. The thin kidnapping story and awkward dialogue are real weaknesses, but they seldom get long enough to spoil things.

**How long is The Furious, and what is it rated?**

*The Furious* runs 1h 53m and is rated R by the MPA in the US. It is an action and crime film.

**Where can I watch The Furious in the US?**

*The Furious* is available to rent from Amazon Prime Video from $5.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The Furious, and is it suitable for children?**

*The Furious* is an 18-certificate film in the UK, and its brutality is a considerable part of the appeal, so it is not suitable for children. The sound design gives the blows a nasty physical force, and the rescue plot offers little relief from the fighting. The squeamish should look elsewhere.

**How does The Furious compare to The Raid?**

*The Furious* offers wider, more inventive set pieces than [*The Raid*](https://film.one/film/the-raid), which is the tighter and more relentless of the two. Gareth Evans's film keeps everything confined and its stakes clearer, with Iko Uwais's speed rarely allowing a comfortable breath. Tanigaki's film gives you more room to see the choreography, and more time spent waiting through dialogue between bouts.

**What should I watch after The Furious?**

After *The Furious*, try [*The Raid*](https://film.one/film/the-raid) (2011, Fi1m 83): Tighter confinement, clearer stakes and close combat that rarely permits a comfortable breath. Then [*The Man from Nowhere*](https://film.one/film/the-man-from-nowhere) (2010, Fi1m 72): A rescue thriller with more patience for character before the violence takes over.

### Reviews we read (14)

- **Slant Magazine** (4/4): Tanigaki’s action thriller is an ambitiously staged brawler that understands narrative simplicity is key to a relentless, propulsive action movie. It features some of the most dazzling martial arts sequences in recent memory and is sure to be the fastest entry into the genre canon since Mad Max: Fury Road. [Read](https://www.slantmagazine.com/film/the-furious-review-tanigaki-kenji/)
- **Los Angeles Times**, Amy Nicholson (85/100, inferred): The action scenes are like nothing else in the multiplex and the sole reason to watch, with creative fight choreography that could change how Hollywood throws a punch. The rote kidnapped-child plot is ignored in favor of gawking at the innovative brawls in this Asian action spectacular. [Read](https://www.latimes.com/entertainment-arts/movies/story/2026-06-11/furious-review-kenji-tanigaki-xie-miao-joe-taslim-brian-le-kensuke-sonomura)
- **The Guardian** (85/100, inferred): The critic finds Kenji Tanigaki’s martial-arts action film exhilarating, with a closing half-hour of unmatched pummelling intensity that exceeds its Taken-like setup. They single out the precise, inventive fight choreography and technical skill in the set pieces. [Read](https://www.theguardian.com/film/2026/jun/25/the-furious-review-dial-shifting-martial-arts-mayhen-as-dad-goes-in-search-of-kidnapped-daughter)
- **The AV Club**, Jacob Oller (B+): The film distills cinema down to sound effects and whirling motion in a pan-Asian Hong Kong action style with blistering tempo and virtuosic movement. Despite some dubbing issues, it is one of the most fluid and satisfying action movies in recent memory. [Read](https://www.avclub.com/the-furious-review)
- **Empire**, Harry Stainer (80/100, inferred): The critic praises the film's relentless martial-arts action and inventive fight choreography as a fun, over-the-top Hong Kong-style spectacle. They single out the creative escalation of the fights, particularly a mid-movie warehouse brawl featuring Brian Le. [Read](https://www.empireonline.com/movies/reviews/the-furious/)
- **RogerEbert.com** (80/100, inferred): The film is a bonkers showcase of incredible stunt and fight choreography that draws comparisons to The Raid and Night Comes for Us. Dialogue and plotting are silly and goofy, but none of that matters in action mode, with three-quarters of the runtime consisting of fighting. [Read](https://www.rogerebert.com/festivals/tiff-2025-dust-bunny-the-furious-normal)
- **Vulture** (80/100, inferred): The film is an action nerd’s dream with mind-boggling set pieces and fight sequences that showcase the human body’s capabilities, using longer takes and wide shots. Plot serves mainly as scaffolding for the action, approached like dance numbers. [Read](https://www.vulture.com/article/review-the-furious-is-an-action-nerds-dream.html)
- **Variety**, Guy Lodge (75/100, inferred): Even obvious flaws will likely be treasured by fans in this slimly plotted but action-crammed kidnapping thriller that looks on track to become a genre standard-bearer. Dopey dialogue and dubbing don’t matter in an aptly titled, stunningly choreographed martial arts spectacular. [Read](https://variety.com/2026/film/news/the-furious-review-1236778933/)
- **IndieWire**, David Ehrlich: Joe Taslim and Xie Miao team up to take down a network of human traffickers in a martial arts extravaganza for the ages. The critic calls it the most brutal action movie of the year. [Read](https://www.indiewire.com/criticism/movies/the-furious-movie-review-1235199747/)
- **Sight and Sound**, David West: The critic praises the film's tight revenge thriller and exuberant martial-arts action as a blueprint for Pan-Asian cinema, highlighting the visceral, choreographed fight scenes and performances like Xie Miao's. However, notes weaknesses in supporting characters and a fumbling climax. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/furious-familiar-revenge-cinema-gets-exuberant-martial-arts-workout)
- **The New York Times**, Robert Daniels (Critic's Pick): The film is a rousing piece of spectacle that delivers pristine set pieces, invigorating camerawork and seamless editing built on body-breaking blows. It leans on familiar genre tropes but perfects them with a sure hand and a unique blend of regionalist combat styles. [Read](https://www.nytimes.com/2026/06/11/movies/the-furious-review.html)
- **Digital Spy**, David Opie (95/100, inferred): The critic hails it as one of the best action films ever made and a spiritual awakening on first viewing. They single out the inventive, visceral fight choreography and acrobatic long takes for particular praise while noting weaker dialogue and ADR. [Read](https://www.digitalspy.com/movies/a71721691/the-furious-review/)
- **The Wrap** (90/100, inferred): The critic calls it one of the best fight movies of the 21st century and a spectacular martial arts extravaganza, praising its inventive, gut-wrenching choreography and real-world stunts. They note the simple plot serves the non-stop action well and single out the thrilling, prop-filled fight sequences for particular acclaim. [Read](https://www.thewrap.com/creative-content/movies/the-furious-review-joe-taslim-xie-miao/)
- **/Film**, Chris Evangelista (8/10): The critic calls it the best action movie of 2026 so far for its raw energy, eye-popping brutality and relentless inventive fight scenes. The intricate choreography and direction stand out as putting Hollywood efforts to shame, with highlights like characters swinging motorcycles at each other. [Read](https://www.slashfilm.com/2190320/the-furious-2026-movie-review/)

## Details

- **Director:** Kenji Tanigaki
- **Director:** Kenji Tanigaki
- **Screenplay:** Shum Kwan-Sin, Frank Hui, Mak Tin-Shu, Lei Zhilong
- **Cinematography:** Meteor Cheung
- **Editor:** Chris Tonick
- **Music:** Olivia Xiaolin, Flying Lotus
- **Producer:** William Kong, Frank Hui, Tam Chi-San
- **Cast:** Xie Miao as Wang Wei; Joe Taslim as Navin; Yang Enyou as Rainy; Yayan Ruhian as Tak; Yanin Vismitananda as Matia; Brian Le as Ho; Joey Iwanaga as Pak Lung; Sahajak Boonthanakit as Mr. Song
- **Runtime:** 1h 53m
- **Certificate (MPA):** R
- **Release (the US):** 12 June 2026
- **Genres:** Action, Crime, Thriller
- **Budget:** $20 million
- **Box office:** $40 million
- **Trailer:** https://www.youtube.com/watch?v=Avky8dVaqAI

## Where to watch in the US

- Amazon Prime Video: rent $5.99, uhd
- Amazon Prime Video: buy $9.99, uhd

*Checked 2026-09-14.*

Also available in: AT, AU, CA, CH, DE, GB, IE, IT, NZ, PL, SE, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Police Story* (1985): For fights built around awkward spaces, vulnerable bodies and alarming comic timing.
- *The Raid* (2011), Fi1m 83: Tighter confinement, clearer stakes and close combat that rarely permits a comfortable breath. — [Fi1m page](https://film.one/film/the-raid.md)
- *Chocolate* (2008): For acrobatic fights that turn the surrounding furniture into a health concern.
- *The Man from Nowhere* (2010), Fi1m 72: A rescue thriller with more patience for character before the violence takes over. — [Fi1m page](https://film.one/film/the-man-from-nowhere.md)
- *The Street Fighter* (1974): For older, rougher martial arts with little interest in making its violence polite.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-furious