The Hunted (1995)
Director: J.F. Lawton
Starring: Christopher Lambert, John Lone, Yoshio Harada, Joan Chen
Primary genre: Martial arts
Secondary genre: Action
Third genre: Thriller
The Hunted can be easily dismissed as mid-90s schlock, but a deeper examination reveals a flawed, yet unique addition to the martial arts action thriller genre with its few bold moves. Supported by genuine talent both in front (Lambert, Lone, Harada, Chen) and behind the camera (writer-director J.F. Lawton of the Pretty Woman (1990) and Under Siege (1992) fame), The Hunted offers, occasionally, some unconventional thrills. Despite a lackluster protagonist who is the excuse for all the incoming bloodbath and some dodgy MTV-inspired editing, the telegraphic story seeks to capture the audience’s attention through its novel setting, a more serious presentation of Japanese culture, and subverted plot expectations.
“Life is a game. So fight for survival and see if you’re worth it.”
The playfulness that appeared in most ’90s action films had has been replaced here, interestingly, by a nihilistic take on martial arts prowess and code of honor. Lawton downplays the role of heroism in modern Japan (another win for the writer-director) and showcases the deadly consequences of one’s persistence in satisfying his ego. This culminates in a brutal set piece inside a bullet train that is more of a massacre than a fight sequence, and is easily the movie’s highlight. Implementing sharp katana-based choreography, The Hunted drastically increases its shock value with its violence and excessive body count that few motion pictures have dared to match.
It has been a while since a US production was set and shot in Japan, the most memorable being Ridley Scott’s excellent Black Rain (1989). Lawton clearly loves the cultural aspect of his story, showcasing dance routines, sword making, and Kendo training under a beautifully conceived score by Kodo, a traditional taiko troupe. In addition, his main lead is not a badass quip machine but a clueless (and helpless) businessman who unexpectedly becomes a witness to a brutal murder. So the film deserves credit for not elevating the foreigner at the expense of its Asian cast giving plenty of space to the stoic Harada (who has a strong cinematic presence), and to John Lone of The Last Emperor (1987), who is more than a ruthless villain. Rushed from location to location, Lambert tries his best with the dry material and gets completely sidelined in the Harada/Lone feud.
It’s a shame, then, that although Lawton bears oozing enthusiasm for American-Japanese flick, he adds accidentally farcical elements. If ninjas are so secret, they certainly leave a myriad of clues about their existence, apparently unaware of cameras and modern technology; their actions are more self-destructive than they are devoted to their cult’s self-isolation and ethos of secrecy. And sincethe audience knows everything before any of the main cast have figured it out, the pace and potential outcome of this tale is a drag. If you can get past moments of glaring stupidity, there is some joy to be found in this b-movie samurai clan/ninja cult clash in Nagoya.
90s ninja schlock
+Solidly choreographed
+Great setting
+Awesome Asian cast
+Blood-soaked and bleak
-Lame lead
-Stupid decisions
-Pathos-less