Close Range

"Close Range" boasts excellent martial arts choreography. The hand-to-hand fights earn solid A grades, while the knife fights earn middling Bs. Production values are adequate for the budget and genre, although far too much reliance is placed on jiggly-cam shots. Make-up effects are of uneven quality. The script is a mishmash of overused tropes with just enough clever one-liners to consider a clemency plea when they go to lynch the writer. A climatic paean to Sergio Leone is fairly good – until they inexplicably shift POV from third-person to first with a memory flash. With no character arcs, moral or coherent theme, the actors don't have much to do except try to kill one another. Several characters are dispatched for no particular reason other than dramatic effect. Scott Adkins does an adequate job as the taciturn loner antihero and handles the action scenes admirably, but deserves a better script.

Where the movie fails is in the gunfights, which comprise a large portion of the running time. We should establish some basic rules for gunfight choreographers and movie characters who find themselves in gunfights.

1. If you have a limited amount of ammunition, you might not want to use it all laying down suppressive fire. Save your bullets until you have a target in sight.

2. If you've taken cover in a dimly lit house and the heavily armed bad guys are outside in the bright sunlight, you have a huge tactical advantage because you can see them much more easily than they can see you. However, you sacrifice that advantage if you stand by the window and stick the barrel of your weapon outside, because now they can see you and you may also have the sun in your eyes. A better strategy is to stand back away from the window and fire. If the bad guy is fifty yards away, you don't gain much advantage by moving to where he's only forty-nine yards away, but you sacrifice a considerable advantage.

3. If your weapon fires really big bullets that are the length of a man's finger and have tapered casings, they probably pack a bit of a punch and go through things like walls and the sheet metal used in automobile bodies. You're probably better off trying to fire through whatever the bad guy is hiding behind than firing overhead and hoping the bullet changes course directly above him.

4. Those little metal things over the barrel and above the breech are called sights. You stand a much better chance of hitting your target if you use them.

5. If you've seen "Zombieland," you know the advantage to a double-tap, but the incremental advantage drops dramatically. When you have a limited amount of ammunition, there isn't much advantage to putting five high-power rifle rounds through somebody's chest, as opposed to only one or two.

Other than the climatic scene, the gunfight choreography was painfully amateurish and largely nonsensical. The only purpose seemed to be to empty the weapons so the characters would need to engage in hand-to-hand combat. Initially, the characters seemed oblivious to the notion that bullets can go through things, even after a character is hit. Later, they did little except fire through walls, floors and protective gear.

The movie is a series of well choreographed fight scenes admirably executed by Scott Adkins and his opponents, linked together by a flimsy excuse for a plot. Fortunately, the fight scenes are worth the price of admission.

Something you might not expect of reading, with a low budget movie like this, but I really liked the stunt and camera work, which go hand in hand in this one. I won't waste too much time on "story". In this case this has nothing to do with spoiling it, because the story itself is not really exciting or anything extraordinary. But you wouldn't expect that anyway.

Still very low and some of the acting to say the least does not help the movie either. But the stunt scenes are really well thought of, as are the camera angles and moves. I especially love the longer takes or the in your face (or hand) approach it takes. Again, this is small/low budget, so it's not like there is other things that are amazing (like locations, set design, even some of the "blood" effects seem more than cheap), but it can still work - and I think it does in some ways

This movie is non stop action but firing 60 rounds from one clip and hitting everything but the people you aim at is just pathetic. The lead is supposed to be some great ex soldier and can't hit two guys 10 ft away standing in a doorway but manages to completely shred the doorway. He takes a dead body to hide and places in plain sight. He has no weapons then proceeds to leave weapons of the people he killed behind. It's really quite pathetic. I give it a 4 because the fights are passable.

In between filming scenes of the upcoming UNDISPUTED IV, it seems as though director Isaac Florentine and karate torchbearer Scott Adkins decided to crank out an additional movie while they had the time. Shot on a low budget in only a couple of locations with a limited cast, CLOSE RANGE may be the most compact action film of 2015, but it's a pretty good one at that. While not the best work of either the director or the star, this is high quality time-wasting material that supplies all the thrills that action junkies and Adkins fans could want. Potentially the best DTV action title of the year.

The story: Following a rescue mission, a mercenary (Adkins) and his family are besieged on a rural homestead by the minions of a dangerous drug lord (Tony Perez).

For the most part, the film looks like something that Florentine would have filmed 15 years ago, before he achieved major cult fame. He's virtually exploiting himself here, from the pseudo-western vibe and corny dialogue to the condensed nature of the script. Running at a slim 85 minutes, CLOSE RANGE sticks pretty close to its adrenaline agenda and doesn't bother with things like character development, focusing instead on physical tension. It's the type of movie that drama snobs will hate, though it's also a step down from the level of storytelling that Florentine's become adept at. It's disappointing that the film's premise boils down to a white guy almost exclusively killing evil Latinos, and overall, I conclude that this one leaves less of an impression than almost any other picture the star and director have made together.

…Unless, of course, we're talking about the action scenes, for which the auteurs remain in top form. These scenes are an even balance of fights and shootouts, and both are exhilarating. The best of the gunfights take place within a home, at close quarters, with the shooters blazing at each other across furniture and through walls. The fights, though, are in a league of their own. Adkins has so many stellar matches under his belt that how these ones rank among the rest is a matter of opinion, but know that onwards from the very first fight – wherein Scott lays waste to seven thugs within a single extended camera shot – top effort has been made. These fights are potential star-makers, as Adkins finds some choice opponents in relatively unknown performers like Jimmy Chhiu, Craig Henningsen, and especially fight choreographer Jeremy Marinas. Occasional slow motion marginally taints some of the brawls, though their overall quality is strong enough to withstand this fault.

In a movie wherein the characters are stock, the setups are old hat, and the lines are recycled, what can still make it worth watching? In this one's case, the answer is gusto and talent. I emphasize how much this seems like something the filmmakers threw together as a side project, but the fact that it's Isaac Florentine doing the throwing means a lot. CLOSE RANGE is a short, fun trip to Actionville that I encourage all fans to take.

The most casting role Scott Adkins has nowadays is either supporting or antagonist character where he would only do a couple of fight scenes but plastered on the poster nonetheless for more draw. Luckily, Close Range has given him more freedom to deliver his trademark action sequences, although it's plagued with an alarmingly sketchy presentation of gangster genre with cheesy Cinemax vibe and awful soundtracks.

Plot is actually good, at least for the first act, as MacReady (Scott Adkins) opens the movie trying to save his niece from mafia. It's a nice setup as it wastes no time to push the action, and continuous shot fighting scene definitely helps. However, it soon becomes the tedious cat-and-mouse between MacReady, the Mexican mafia and unsavory cop.

The pacing loses steam fast, repeating the same angle of corrupt police officer or gang member chasing the hero. It lacks structure aside from the primordial rush of periodic fisticuffs and gun-totting scenes, even these are simplified. As expected, there's not much in term of acting, it's not utterly terrible but it does appear jarring at times. The characters are either stereotypical damsel-in-distress, overly vilified or straight up gangster extras.

Most of the presentation revolves around old corny action flick ambiance, a bit like binge night on Cinemax with the music department playing the same Desperado inspired tunes over and over again. Fortunately, the action is admittedly decent. Scott Adkins has more plenty of chances on creating brutal beatdown, some of which are pretty creative. Even though this can get over-the-top, the high octane action would definitely please genre fans, or those wanting for more Undisputed action.

Close Range tries to spice the bland drama with misguided style. It's a good thing that the combat looks visceral enough, but it still might not attract viewer beyond action buff.