THE COLLECTORS is a low-budget indie production from Latter-day Saints director John Lyde that combines martial arts and action elements of THE MATRIX with a family-friendly story of a bitter young man crippled in a car accident, who learns to appreciate life again after playing a custom-made video game. It’s a modest film that’s not too original or outstanding when it comes to screen fighting. However, it does have a number of things going for it, especially tight direction and editing from John Lyde, talented martial artists that perform a wide range of styles and the kind of moral-driven story that is virtually non-existent in Hollywood.

Told through flashbacks, we learn that Logan Despain (Adam Abram), a sullen and solitary young man crippled from the waist down, who spends his days drawing dark and dreary images, was once a martial artist with enthusiasm, friends and great potential. After his father’s rush to get his son to a kickboxing competition results in the fateful car crash, Logan has given up on life and blames his father for his condition. The character-altering plot device arrives in the form of a fighting video game called “The Collectors,” custom designed for Logan by his grandfather. This is where the film’s action takes place as Logan is transported into the game, along with the viewer where he finds himself able to walk again but also on a desperate mission to rescue his kidnapped mother from an unknown captor.

In a premise vaguely similar to CELLULAR, the captor talks through cell phones, instructing Logan to retrieve several mysterious objects from various people around town he recognizes from real life but must fight within the game. Meanwhile, his two former-best friends have been transformed into goggle-wearing “Collectors,” Agent Smith-like fighters bent on stopping him from accomplishing his mission. Logan eventually comes face to face with the captor who turns out to be his ultimate nemesis in the game and in real life.

The dominating video game element is a major stretch and highly derivative. Thankfully, the film doesn’t waste much time in trying to convince its audience that our hero is playing a game. Instead, it works more like a dream or modern-day Wizard of Oz story. Lyde smartly focuses on building tension in the game through Logan’s race against time to reach his mother and in “real life” by pitting Logan against his father. The acting ranges from poor to passable with what I would consider acceptable performances from actors in a low-budget film. But again, it’s the direction and editing that rescues the day by keeping the narrative speeding along and keeping dialogue in check.

The action in the film has its pluses and minuses. As previously stated, a number of actors appear to have some genuine martial arts ability. There is a fair amount of kicks, flips, takedowns, grapples, and general sparring. Of particular interest is the inclusion of capoeira which is performed by several actors including Abram. Although THE MATRIX provided some inspiration for the action, it never dips into fantasy or even exaggerated motion. The action relies more on the skills of the actors and Lyde’s editing than anything to sell itself. This is where I have to commend Lyde. He displays a solid understanding of how to present a fight scene for maximum impact. Although actors frequently swing wide, he generally positions the camera to get the most convincing angle or uses well-timed cuts. When he keeps the action tight and focused, as when Logan takes on a room full of martial artists in a dojo with relatively quick and efficient moves, the fighting works nicely. But he occasionally lets the fighters fall back on exhibitionism with repeated, wide-swinging kicks and showpiece moves like a one-armed handstand that serve no purpose and make certain fights less exciting.

Considering what the filmmakers have at their disposal, which isn’t much, I’d say THE COLLECTORS is a good effort that actually entertains. Technically, it’s proficient with decent lighting and sound, which are often the two hardest aspects of a low-budget film to master. It also succeeds as a true indie production by offering something the mainstream doesn’t, at least not where action movies are concerned. It uses martial arts action to explore, if in simple terms, strained family relations and coping with disability and depression. And as a production of Utah-based Latter-day Saints filmmakers, whose other work includes more religious-themed productions, it does so without noticeably pushing an agenda.

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