“Furie” Theatrical Poster
Director: Le-Van Kiet
Writer: Kay Nguyen
Cast: Veronica Ngo Thanh Van, Cat Vy, Phan Thanh Nhien, Phạm Anh Khoa, Tran Thanh Hoa
Running Time: 98 min.
By Matija Makotoichi Tomic
Veronica Ngo is back, and with her, so is the Vietnamese martial arts action. It’s been a while since we’ve last seen Vietnam delivering an action movie worth praising, but that changes with Furie, and the deadly art of Vovinam is back on screen, big style. Not that it is any proof of quality, but the fact Furie became one of the top three all time box-office successes in Vietnam, as well as the first Vietnamese movie to be released in USA, confirms that the job was done right, leading up to Netflix taking interest in the movie. While I wouldn’t agree that this is the best Vietnamese action movie ever made (that honour despite everything goes to the unfortunate Bui Doi Cho Lon if I’m to be asked), it is safe to say it earned its place up there with the best.
The movie’s director, one Lê Văn Kiệt (House in the Alley), is partly the reason why that it so. While not flawless, his movie delivers on both action and drama, with just a few questionable details, nothing that would take away from the overall impression. Largely copying the plot basis of his previous movie, Kiệt directs a story about a desperate mother faced with the kidnapping of her daughter. Certainly not the kind of plot that will break new ground, but despite lacking originality in this area, Furie manages to be different from the rest. What makes it different, is the human touch.
Hai Phuong, character played by Ngo, is not the typical, invincible action hero fighting her way through a pyramid of baddies. She’s just an ordinary person (though a highly skilled one), not too proud to admit her mistakes, or ask for help when she needs it. Above all, she’s a mother, ready to do anything to protect her cub. If she seems a bit harsh to her daughter in the opening of the movie, it’s only because she knows the importance of discipline, and wants the best for her baby, meaning not making the same mistakes her mother did. Education is here, as usual, the way out and the symbol of hope for a better tomorrow.
After not being able to stop the kidnappers, Phuong follows on a trail of a human trafficking ring that will take her to Saigon, a place where she buried her criminal past behind, in exchange for a quiet life in the country, if earning a living as a debt collector qualifies as such. Being once a part of the same milieu enables Phoung to quickly get a lead, but she’s got to move fast. It’s only a matter of hours before the kidnapped kids are put on the train leaving Saigon, and with that train, all hope that Phoung will ever see her daughter alive is gone as well.
The idea of having the whole story cramped within 24 hours is what gives Furie intensity, even if this is sometimes clumsily executed. Though conceived in a no-nonsense fashion, the movie’s not without its comedic moments, mostly reserved for the character of a nurse that helps Phuong escape from the hospital, and continue pursuing her wrongdoers. It’s decent comedy that delivers a few laughs, just enough to ease the menacing tone that predominates. What Furie does so well is making use of its colours, setting a tone for different scenes varying in emotional charge. It is what makes Kiệt’s movie stylish and visually appealing, but without taking away from the impact. When Phuong goes against the Saigon’s criminal underworld, even with all the help she can get, it is with all the furiosity you’d want and expect.
Though drama luckily does not suffer here, it is the action that’s the real strongpoint of Kiệt’s movie. As fitting for story such as this one, Furie delivers brutal action which is, despite the beauty of it, of kill-or-be-killed kind, with weapons ranging from knives and axes, to bottles and screwdrivers, together with a sprinkle of gunplay thrown in for good measure. With each fight being better then the previous one, it is the clash between Ngo and Trần Thanh Hoa that shakes the ground, easily being one of the best girl-on-girl fights of recent years. Fight choreographer Samuel Kefi Albrikh keeps the fights grounded, and it is a refreshing pleasure watching martial arts action that’s not ruined with lousy CGI, or needle-in-your-eye use of wires.
Even the fights in Furie aren’t without the human depth present throughout the movie. Phoung taking on her first lead Truc, trying to beat some information out of him, sees his ageing mother trying to stop the fight, knowing that without her son around she’d be helpless. While the two engaged in a fight, it is her who pleads Phuong for mercy, and her son to give in to reason. Same can’t be said for Ngo’s clash with the lady villain, the two go at each other like there’s no tomorrow in a fight that will leave fans asking for more. Both Phan Thanh Nhiên in the role of detective Luong and Trần Thanh Hoa as the vicious lady boss Thanh Soi seem to be newcomers, but can handle their action well, and the future should hold a place for these two. As for Ngo, she proved once again she’s got what it takes. Furie sees her working with a new team to a great result and it would be nice if we wouldn’t have to wait for years to see her in another delicious slice of Vietnamese action.
Matija Makotoichi Tomic’s Rating: 8/10
You lost me when you said Bui Doi Cho Lon is the best Vietnamese action movie. I have tried watching that movie so many times and just can’t get through. Having all of the sound and effects in there wouldn’t make a difference. It was to much like The Young and Dangerous films and The Rebel was way better than it. Looking forward to this movie though.
I thought the whole movie was never released and only a bootleg copy missing a ton of footage was leaked.
You are correct, I don’t understand how someone can say that is better than actual finished film plus even if the movie were completed it still wouldn’t have been great.
From what I understand, some people close to to production were lucky enough to see the original print before it was chopped up and said it was great.
Johnny Nguyen set out to outdo himself and it was heartbreaking for everyone involved to essentially have this film destroyed.
The version that leaked was a rough cut of the movie later shared among the fans, and to my knowledge it’s the only way you can see this movie.
I’ve refused to watch it because the Nguyen brothers asked everyone not to, and that it’s not “their” vision. I’m holding out hope that the movie will get an official release someday.
After The Rebel and Clash, I thought Vietnam would be on fire with action films. I’m hoping Truy Sat and Furie reignites that fire.
I’m sorry to hear that Jerry, I do hope you’ll enjoy Furie nonetheless. As for Bui Doi Cho Lon, even though unfinished, I found it quite enjoyable and was more impressed with it than with what I’ve seen in The Rebel. I guess it’s just a matter of taste. Thanks for your comment.
I was glad to see Furie for its limited release in the US. Veronica Ngo had such a good rapport with Johnny Nguyen, that it was sad that they weren’t collaborating anymore. It is great to see her carry a whole film on her shoulders though.
So the martial art used in her films is Vovinam? Is it different from “vo bin dim?” (I’m probably spelling it wrong.) I’m assuming it’s the equivalent to Iron Body Kung fu with the way some of these characters absorb punishment like Yen Shi Kwan in Once Upon a Time in China.
I’m baffled as to how Bitch Logan is a producer for Furie. I can only assume the film makers didn’t know about his crimes until after filming wrapped.
“I’m baffled as to how Bitch Logan is a producer for Furie. I can only assume the film makers didn’t know about his crimes until after filming wrapped.”
I’m guessing the allegations against him (I think ‘crimes’ should only be used against people who’ve been convicted in a court) didn’t impact his involvement, since Veronica Ngo brought him back onboard to produce the prequel ‘Furies’ (which hits Netflix on the 23rd!) in 2021.
Yes, it’s important to remember that there’s a difference between being accused and being guilty, and everyone is entitled to a fair trial.
It’s hard to remember that when the accused does a poor job of defending himself, he supposedly has lots of friends, but they don’t come to his defense, and that these accusations have been going on for many years.
I believe in the saying “There’s no smoke where there’s no fire.”
I finally got around to giving ‘Furie’ a watch recently in preparation for the upcoming release of the prequel, ‘Furies’. Overall I thought it was a decent actioner, but I can’t help but think it would have felt more impressive if it’d come directly off the back of ‘The Rebel’ and ‘Clash’ from 10 years prior, rather than in 2019. The action was a step-down from both of those, and considering what Indoneisa did with action choreography with ‘The Raid’ and alike in the time in-between, there didn’t seem to be much in ‘Furie’ that we haven’t seen before.
The story and characters were functional as a kind of localised Vietnam version of ‘Taken’, and I’ve no doubt I would have enjoyed it considerably less if it wasn’t Veronica Ngo in the lead role (hoping that won’t impact the enjoyment of ‘Furies’ too much!), but it just lacked a certain narrative oomph. Ironically one of the most enjoyable parts was the unexpectedly hilarious hospital escape attempt with the hostage nurse, which was tonally jarring but still managed to work exactly as intended.
Those are interesting thoughts. I thought that The Rebel, Clash, and Bui Doi Cho Lon (I have a hard time calling it Chinatown) set a standard that Furie followed. We certainly got the bone crunching hits that we expect, and I continue to be fascinated by the martial art of Vo Bihn Dihn/Vovinam.
Do people also get to that point with HK/Chinese martial art films where even if they’re well done they’re not something we haven’t seen before? I guess it’s different for everyone.
I’ve once read a professional film critic’s comment “If you’ve seen one Jet Li movie, you’ve seen them all.” That automatically makes anything else that guy has to say worthless! 😛
Perhaps I should have elaborated to say the action isn’t anything we haven’t seen before…..and seen done better. The scenes in the market place felt derivative of similar scenes in 2008’s ‘Chocolate’, only minus the Thai stuntmen to really sell the impact. I think that was my main issue with the action here, it was decent, but there was a lack of impact to really sell the moves (many attackers were floored after just a single hit from Ngo, and for me it rarely felt clear what exactly she did to floor them).
I’ve also noticed ever since ‘The Raid’ and its sequel there’s a trend now of using the camera to try and add impact by having it follow someone as they fall to the ground. This can be effective, but the fall still needs to look painful and not rely on the camera to do the work. The fight scene with the main henchwoman in the train carriage fell foul of this, as when she finally drops the camera follows her down, and while it captures that kinetic energy of the body in motion, it didn’t feel particularly painful.
I still enjoyed ‘Fury’, I just didn’t think it was the renaissance of Vietnamese action that some did. As for that film critics assessment of Jet Li, I’m with you on that one! Someone needs to show him ‘Shaolin Temple’, and then follow it up with ‘Unleashed’, see if he can spot the difference!
Thank you! I usually try to pay attention to the little things in fight scenes, but it can be easy to miss them. I should look for those camera assisted falls.
As much as many of us enjoy women kicking ass, I’m sure other people have difficulty believing that a lot of them can do it.
Maybe someone can’t buy that Cynthia Khan or Moon Lee can knock a guy like Billy Chow on his ass. I’m willing to suspend my disbelief for them.
But then you have someone like Yukari Oshima who even when she doesn’t knock anyone down, her kicks and punches still look painful. I don’t think Veronica Ngo is quite like that, but she does deliver the goods.