Gladiator Underground is a no-frills martial arts tournament film about two estranged brothers, one a cuss-heavy alcoholic, the other a disciplined fighter, who enter the same underground competition while a third fighter, Brian Le’s Shojin, plays the wild card. If you grew up on Bloodsport, love the Kumite and want clear, athletic fight scenes more than a clever story, this one is for you. If you’re after fresh ideas or sharp writing, look elsewhere.
Plot. Two brothers from opposite walks of life enter the same tournament while Shojin, a fighter paying off debts to the Triad, acts as the spoiler. It’s the familiar Bloodsport template, the same ground covered recently by The Last Kumite. Nothing here surprises you, and I don’t think it tries to.
Acting. The three leads are a perfect physical fit for their roles. D. Y. Sao carries that Tony Jaa-era swagger, Andy Le plays the straight-laced, Ryu-like hero, and Brian Le brings the menace. But once the fists stop flying, the performances ask for more. The opening scenes worried me, because the slang-heavy dialogue is packed with nearly as many “brahs”. These guys move like stars and talk like extras.
The supporting cast doesn’t help. Ron Smoorenburg’s role as The Templar is a strange choice, because he is capable of much more than this. The Vampyre and Russian Killer characters are simply too funny to watch in the ring, and I don’t think the laughs were intentional. A tournament film lives on its opponents, and these two deflate the tension every time they step into the ring.
Directing and writing. Supannarat makes the tournament feel like a real place, with distinct settings and colorfully dressed opponents, each with a recognizable fighting style. The writing is where it stumbles. Shojin is meant to be a devoted family man fighting to protect his wife and son, yet in the ring he becomes an unhinged psychosexual brute, and yes, he bites into an opponent’s crotch like a rabid dog. It’s the most confusing character work I’ve seen in a tournament film in years. A few other scenes look ridiculous and could be cut without costing the film a single beat. Trimmed, this would be a much sharper picture.
Fight choreography and stunts. This is where Gladiator Underground earns its ticket. Joseph Le’s choreography (Shang-Chi and the Legend of the Ten Rings) is the clearest I’ve seen in a long time, and the camera lets you see every strike land. Andy Le can’t throw a simple kick without three spins across the floor first. My one complaint is the sponsor-wheel gimmick, which hands fighters a weapon mid-fight and pulls the film away from its strength: hand-to-hand combat.
What failed and why. The dialogue, the ridiculous detours and Shojin’s muddled characterization all come from a script that trusts its fighters more than its words. Casting is another problem: Selina Wiesmann is out of place as the tournament owner, and the role needs menace and authority she never delivers. The ringmaster should be the most dangerous person in the building, and here she isn’t. The weapon-heavy fights also bury the best of what these performers can do with their bare hands.
Best moments. Any hand-to-hand exchange with Andy Le, and D. Y. Sao and Brian Le sharing the ring again. The filmmakers clearly reached for the best veins of Mortal Kombat, Street Fighter and Tekken, and in some respects they got closer than the big-budget Mortal Kombat blockbuster did. The tournament feels like a tournament, the fights are readable, and the styles are distinct.
Impact. I’ll say something controversial: I’m ready to leave the tournament movie in the Eighties. With Mortal Kombat II and a live-action Street Fighter reboot on the way, maybe someone will make the format feel fresh again. Gladiator Underground doesn’t reinvent it. It lands the expected beats and leans on your fond memories of the Kumite.
Verdict. The fights are clear, the fighters are dynamic, and the script is lazy. This one may have earned the punch, if you’re only here for the fighting.
