Killed For Less

I guess we’ve been slacking on posts lately…I do love this kung fu clown action, but it hardly suffices. I suppose eventually we’ll have to list ourselves on here.
Vid via blog. [You Are Hated]

SEGAL VS. CHILDREN. GUESS WHO WINS.

“Boards don’t hit back” from Enter The Dragon (1973)

Lee’s famous, running thrust kick into Bob Wall’s chest at the end of their fight scene broke Wall’s sternum, and broke one arm each of two extras, into which Wall was propelled and fell. The rest of the fight (with the glass bottles) was delayed for one month, until Wall had healed well enough to perform the choreography.

Rob Roy versus Cunningham, Rob Roy (1995)

The sword fighting sequence, staged by William Hobbs, is the best of its sort ever done. In most movie sword fights, the participants leap about effortlessly, their blades shimmering and clashing. Here we get the sense of the deadly stakes, and the great physical effort involved.

- Roger Ebert

Final shootout from Way of the Gun (2000)

The final shootout scene in the brothel is the same location where the final shootout scene in Butch Cassidy and the Sundance Kid (1969) occurs.

“Bone Breaker” fight from The Protector (2005)

“The elephant is a symbol of Thailand.” Said Tony Jaa of the the fighting style his character uses in The Protector “…I was inspired when I had my own elephants at home. In this movie, I wanted to show the art of the elephant combined with Muay Thai. Any direction that the enemy comes from — whether from the back, side or front — we can always use the elephant gesture to take down the enemy. If the enemy comes from the back, we use the arms as tusks to throw them on the floor, then we use the elephant’s feet to step on them.”

Downtown shootout from Heat (1995)

The North Hollywood shootout, which eventually led to a shootout that claimed the robbers’ lives and left 17 LAPD officers and civilians injured, was modeled after Heat.

Corridor fight from Oldboy (2003)

‘Park wanted to ’show the loneliness of the fighter’ and he certainly did. Putting a heartbeat at the core of music gives the scene a thrilling edge and the muted trumpets show us his amazing triumph against impossible odds; though one he does alone. The shooting makes this shot feel two dimensional, Park’s intelligence is shown with this, as demonstrates the hero’s lack of choice; he can only get out fighting, captivating the audience with his slow advance to freedom. The shooting angle also makes the scene intrinsically claustrophobic, only adding to the it’s thrill. The fact that this scene was film in one shot only adds respect to Park’s ability as a director.’