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The legendary skills
and heavy-hitting action of martial artists Bruce Lee, Jackie Chan
and Jet Li may have finally been equaled by newcomer Tony Jaa. Younger
and fitter than Chan and Li are now (who continue to make movies
despite passing their prime), Jaa demonstrates some of the best
martial arts action to hit the big screen in quite some time. Despite
a generic storyline, Ong-Bak: The Thai Warrior is a fast-paced and
fun-filled adventure that is careful to ensure the outrageous stunts
always come before the tepid dialogue.
In the remote village of Nong Pradu, the Muay Thai master Ting (Tony Jaa) completes his training. Instructed by his teacher never to use the deadly martial art form, Ting instead uses his physical training to best the other villagers in right-of-passage tournaments. But soon enough, Ting will have great need for his powerful fighting skills. Treacherous former villager Don (Wannakit Sirioput) has moved
to the bright lights and energetic streets of Bangkok, and now
works for a crime boss who exports stolen ancient artifacts. Don
steals the head of a statue in Nong Pradu known as Ong-Bak, which
is worshipped by the villagers and aids in their harvests and
water supply. Without it they are lost, and so it is up to Ting
to journey to Bangkok to retrieve the seized deity’s head.
Once there, he meets up with petty thief and conman Humlae (who
uses the name “George” to avoid embarrassing ties
to his village) and his assistant Muay (Pumwaree Yodkamol), an
equally desperate, trifling criminal, who accidentally discover
Ting’s incredible fighting talent. Tricking him into competing
in illegal underground circuits to win bets and pay back debts,
George eventually, reluctantly decides to help Ting recover Ong-Bak,
through the course of many supremely choreographed sequences.
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Several scenes of comedy
are introduced with Humlae’s character, firstly through dialogue
and secondly through physical tricks, since Humlae is out-of-shape
and unable to defend himself. While the slapstick only helps to
stall the inevitable combat scenes that we undeniably crave, a romance
between Ting and Muay also never completely surfaces. Add to that
the fact that the story is only in place to tie together fight scenes
and stunt locations, and you’ve got a film that is perfect
for a single guilty pleasure – ass-kicking action.
In the action department, Ong-Bak delivers, throwing jazzy techno music over stylized moments, and frequently showing instant replays of the craziest stunts. That device alone cements the idea that the filmmakers weren’t trying to hide the fact that this film thrives solely on martial arts. But with unique hand-to-hand combat segments with villains such as “Pearl Harbor”, “Big Bear”, “Mad Dog”, and a wheelchair-bound gangster sporting an electronic voice box, Ong-Bak doesn’t shy away from the most gruelingly realistic fight choreography Hollywood has witnessed in ages. Escape tricks, underwater altercations and a three-wheel taxi chase are also mixed in to show that Ting can do everything James Bond can do, and more, without the use of advanced technology. Using no special effects, and no wirework, Tony Jaa is clearly the man to watch, and Ong-Bak is highly entertaining, nonstop violent fun. - Mike Massie
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