Kenji Tanigaki’s The Furious is a deliberately old-style kung fu action film that embraces the pleasures of the genre with little hesitation. It recalls the kinds of films that made martial arts cinema such a sensation in the 1970s: lean on plot, rich in physical confrontation, punctuated by comic touches, and driven above all by the choreography of combat. In that sense, the film feels like a throwback to the tradition that Quentin Tarantino has so openly admired and reworked in Kill Bill. From its opening sequence, The Furious makes its priorities clear: kung-fu action is not an accessory here but the very essence of the film, the force that defines its rhythm, tone, and identity. The action sequences are immensely entertaining, driven by fast-paced editing that slightly accelerates the characters’ movements, heightening the action while giving it a comic, almost cartoonish quality.