May 7, 2025
WRITTEN BY: KATIE
I generally don’t like action films. It’s not an aversion to pure spectacle or violence, either. I am, after all, a massive horror fan, so those elements often work in a film’s favour for me. What often bothers me about action films is the lack of personality and creative flair, not to mention the pacing, uninteresting performances, and onslaught of action that doesn’t allow room for anything else to breathe. Among the car chases, explosions, punches, and shoot-outs, I find myself struggling to feel emotionally involved in the story, to include caring about the characters, which is vital to maintaining engagement.
When I think of an action film, I pessimistically conjure poorly lit images of guys shooting each other or throwing endless punches, featuring frenetic editing and so many cuts that I can barely make out what’s happening. I find recent action films are particularly guilty of this, with a good example being most of the MCU’s offerings over the past few years. The actors don’t seem to really care about character development, and the fights have become so overwhelmingly long, so rapidly edited, and so destructive yet inconsequential that I completely tune out. There’s no buildup, no suspense, no tension, no clarity, and no sense of stakes.
This speaks to what film critic Matthias Stork has diagnosed as “chaos cinema”: films characterised by excess, exaggeration, and overindulgence. They disregard spatial awareness, emotional engagement, and character development in favour of adrenaline-fueled mayhem. They use quick cuts and shaky camera shots to create the impression of action, circumventing the need for strong direction and good choreography. These aren't inherently bad things, but all together and over the course of nearly two hours, they become incredibly monotonous.
This isn't to say that I don’t like a few films like this. I love the Fast franchise, which is guilty of all the above, showing that even I, someone who may think themselves immune to the appeal of chaos cinema, can be seduced by cool cars and ridiculous action set pieces. However, especially in the most recent instalments, the Fast films acknowledge their ridiculousness in a self-conscious way that assures me they’ll at least do it right.
David Bordwell has noted that most Western-made films since 1960 — not just action flicks — can be characterised as utilising “intensified continuity,” meaning generally shorter shots and faster-paced editing. He compares modern remakes to their pre-1960 originals, finding that, even though classic Hollywood films are often viewed as overwrought, modern films are less subtle in terms of music, performance, editing, and just about everything else.
I think this trend has persisted, with even modern remakes of pre-2000 films being comparably less subtle in the same ways. In this sense, modern audiences could simply be more accustomed to faster pacing and, therefore, be better equipped to keep track of the action. So, is chaos cinema lazy and designed to overload the senses of passive audiences? Or could it be viewed as a challenge to or progression from the dominant artistic style established by classic Hollywood cinema?
Either way, all of this is to position action as a widely varying genre, and in the words of Bordwell, show that action movies shouldn’t always be “considered a mindless splatter of violent spectacle and CGI. [They] can have a cogent architecture,” and this architecture is what makes them so entertaining. Bordwell’s article “Anatomy of the Action Picture” highlights the intricacy of action films and the impressive feat of advancing stories through physical action, which can be just as effective as dialogue. Yes, audiences want impressive action, but it needs to be tied together with plot and emotion in order to be effective. When action films are done well, they’re artful, immersive, and most importantly, entertaining. Like Bordwell says, “we like stars, but in stories; and stories that move us.”
Now, I want to go through some action films that I love, as someone who doesn’t love action, and uplift what are, in my opinion, some of the very best the genre has to offer.
FACE/OFF (1997)
As a Nicolas Cage fan, I’m ashamed of how recently I saw Face/Off for the first time. Nevertheless, it is a delightfully unhinged, over-the-top, perfectly calculated action film. Cage and John Travolta are simply magnificent in their dual roles, and I was genuinely impressed with the calibre of their performances. Lesser actors would not try this hard in a film this insane, but their utter devotion and lack (or even awareness of) restraint convince the audience to accept the ridiculous premise and enjoy the ride. Whilst there are plenty of shoot-outs, fights, and explosions, director John Woo makes liberal use of slow motion to ensure we can appreciate every flame and gunshot. He’s not hiding behind spectacle, just doing it incredibly well. What’s more, it’s quite a gorgeous film, with time spent establishing the deep red interiors of the church, the gold accents, and the glow of the candles. Not only is the action immersive, but it’s a well-crafted film in many other aspects.
X-MEN: FIRST CLASS (2011)
Truth be told, I’m not a big superhero gal these days, but I adore the X-Men films. I think it’s because all the characters care about each other and so much time is spent exploring their dynamics, making the action more enhanced and engaging. Specifically in First Class, the performances are strong all around, but James McAvoy and Michael Fassbender are so, so good; their relationship drives the story. But on top of their core arc, there are so many emotional plots throughout First Class, and they’re all very well developed: Mystique’s (Jennifer Lawrence) struggle with self-acceptance, Magneto (Fassbender) being haunted by his deeply traumatic past, Professor X’s (McAvoy) earnest dedication to non-violent resolution, and the newly recruited mutants honing their unique abilities. The creative use of their powers makes all the action more satisfying and compelling. Take, for instance, the bar scene in Argentina, which is a simple setup, accentuated by Magneto’s powers in a creative way, that is still understated and impactful.
MAD MAX: FURY ROAD (2015)
Fury Road is my favourite action film, one of the best ever. I’ve even argued before that it constitutes a perfect film (read about it HERE). Despite the high-octane, relentless action, it never becomes monotonous, fully gripping your attention. Each and every moment is meticulously crafted. Unlike some action films that use cacophonous action to conceal flaws or lack of direction, Fury Road uses it to highlight the intention and artistry in every shot. Look at any corner of the frame at any time, and you’ll be impressed by what you see. Fury Road propels its plot forward through breathtaking action set pieces that render dialogue useless, and I think Bordwell’s opinion that action doesn’t deny the audience narrative, but immerses them in it, is very fitting for Fury Road.
REVENGE (2017)
Admittedly, Revenge can be considered a horror film from the rape-revenge subgenre, which is the context in which I’ve written about it before, but it has all the hallmarks of a straight-up action film. Most of the film follows the gun-wielding protagonist, Jen (Matilda Lutz), as she prowls the desert, her appearance evocative of Lara Croft. She stalks the men who attacked her, taking them out one by one to exact her revenge. Similar to some of the best action films, there is very little dialogue, and the violent action moves the plot along. It’s pure, bloody, overindulgent, and gorgeously shot carnage. The final scene, in particular, is incredible. The suspense is maddening as Jen and her attacker chase each other around his beautiful apartment, which becomes increasingly blood-soaked as time goes on. It’s a fight to the death, a cat-and-mouse chase quite literally stripped down to one perfectly tense, intensely violent action sequence.
MISSION: IMPOSSIBLE – FALLOUT (2018)
My opinion of this changes from time to time, but Fallout is the best Mission: Impossible movie. After re-watching it recently, I was struck by how its stylish precision, fantastic performances, tremendous fight choreography, palpable tension, and rhythmic pacing make the runtime fly by. Fallout proves that action set pieces that, in a lesser film, would consist of close-up shots and quick cutting to create the impression of exciting action — like car chases or fights or just simply running — can be dynamic, elegantly constructed, and shot with clarity. I also love how it focuses on character development, exploring Ethan Hunt’s (Tom Cruise) vulnerability and sense of morality, adding an emotionally engaging dimension to the action.