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Since the dawn of the 21st century, action cinema has undergone a bigger change than perhaps any other genre. The result is a showcase of what action cinema can do at its peak presentation: knock you flat on your back while igniting ideas and emotions with explosive, lasting impact. Check out our top 50 below and let us know your favorites in the comments.
One can also see the full list on Letterboxd. Why do we hang out with that guy? Clive Owen plays a sharpshooter by way of Bugs Bunny that has to team up with a prostitute played by Monica Bellucci to keep a baby safe from… everyone. This movie takes place in a universe where guns are the only tool, and the only thing deadlier than a gun is a carrot.
God bless it, and keep it away from weddings. When it hit theaters in , Hanna immediately distinguished itself from the annual mass of faceless action movies through sheer, idiosyncratic style. The countries offering the most cultural resistance and local pride — France, South Korea, Turkey, India, China — are firmly in its sights, but it's far from certain that it will enjoy the same levels of domination there. But maybe it's progress that the struggle for the mainstream now needs subtitles. The Road Home Everyone's talking Chinese box office now, but Sony was the first Hollywood outfit to really recognise its importance.
Subsidiary Columbia Pictures Asia started its local-language dabblings there in the late 90s, including this Zhang Yimou drama, which introduced us to Zhang Ziyi , a year before she broke out in another Columbia film: Crouching Tiger, Hidden Dragon.
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Roadside Romeo Disney — perhaps clearing their decks for the portfolio of mega-franchises with which they're spearheading their global strategy now — ultimately decided local-language was not for them, and closed their specialist unit in How to Lose Friends and Alienate People The snark in Film Four's adaptation of Toby Young's memoir was in unapologetic British, which counts as a foreign language to the American studios.
A distribution pickup for Paramount's Worldwide Acquisitions Group, its disappointing box office was part of a so-so slate of results for the studio's international arm. The unit closed in — with Paramount preferring off-the-peg tailorings for the juiciest territories, such as filming sections of Transformers 4 in Beijing. The Yellow Sea Na Hong-Jin's followup to his much-praised The Chaser looked like a chip off the old Korean block: gritty, dynamic and hurtling towards a Senecan bloodbath. Actually, it was a shrewd investment on the part of FIP, their first in Korea; a bet on one of the country's most exciting up-and-coming directors that seriously paid off.
The Artist The best picture Oscar-winner was billed as a beautiful irony: the outsiders' homage to old-time Hollywood, from la belle France. Actually it was from la belle Burbank, partially funded and co-produced by Warner France — though the creative team, led by director Michel Hazanavicius, was certifiably Gallic.
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Warner got cold feet on handling it worldwide — put off by black-and-white visuals and lack of dialogue — and let the Weinsteins take the strain. Topics Warner Bros After Hollywood. World cinema Film industry blogposts.
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The 50 Best Action Movies of the 21st Century Thus Far
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