Here to prove that big movie studios do not hold a monopoly on entertainment value (not that we didn’t already know that) is actor-turned-indie filmmaker Kevin Woodhouse who offers up ORDER OF ONE, a gratuitously fun freefall into ’70s-style grindhouse action with a considerable nod to the works of Sonny Chiba. It’s intentionally low-brow budget filmmaking at its finest that comes with high quality action choreography and screen fighting from its star, veteran actor and stunt coordinator Jason Cavalier (ROLLERBALL, 300).
At first glance, ORDER OF ONE looks like your typical low budget homage to exploitation cinema of the ’70s, the kind that Quentin Tarantino has been lucky enough to use as building blocks for A-list blockbusters like KILL BILL while others play with scraps and are quickly forgotten. But the movie quickly builds up a wicked momentum that easily overpowers its shortcomings and never slows down for an instant.
In writing and directing this film Kevin Woodhouse didn’t appear to be aspiring to break through to the same level of mainstream success of Tarantino, but he has taken a page or two from Tarantino’s playbook when it comes to a relatively smart script, sharp dialogue and excellent use of a large cast of colorful supporting players. He’s also matched this with far more ballistics and melee combat to keep action fans happy.
The plot is simple, clichéd and underdeveloped but gets the job done. An ancient sword with the power to corrupt whoever wields it ends up in the possession of a reporter, played by Woodhouse. After escaping a shootout that has left its former owner dead, he joins an escaped convict (Cavalier) in trying to get it back into the rightful hands of The Order, a secret organization committed to protecting the relic. In their way is Mr. Park (Grand Master Kim Hyung-chul), a powerful businessman and martial arts club owner who has ordered his chief lieutenant and nephew Tommy (Harrison Chan) to get the sword. Working for Park are the Sirens, a pair of blonde-haired femme fatales in gaudy, ’60s-inspired costumes.
Free beer at a cheap strip club owned by Park, lady assassins literally falling out of their clothes on the road and one of the Sirens in particular (Melentha Blackthorne) prove to be powerful temptations for a guy just out of prison. But when guns and knives are drawn, he’s more than ready to respond with the same lethal force of the original “Street Fighter.”
With his initial attempts to get the sword failing, Tommy secretly hires The Cancun Kid and his two sidekicks, one of whom is dressed liked a cowboy. But the trio decides to take advantage of the opportunity to get the sword for themselves and sell it to the highest bidder. Eventually, Jason and Kevin’s path leads them right into the heart of Park’s domain where a massive shootout erupts, following by a series of bloody martial arts duels.
Production values for this feature are dirt cheap. Some of actors are obviously amateurs and most of the live and post-production special effects are not even remotely convincing. There is a lot of blood in the movie, although it looks more like watered-down cough syrup with a little starch added. Gunfire and its effect on the environment are added in with basic computer effects. A few of the indoor locations such as the strip club and Park’s office are lacking in proper décor. And the script itself is riddled with unexplained circumstances. But none of these issues matter. What matters is that Woodhouse and his crew manage to scale back the production in a way to make it still shine within a very tight budget. The important details are still attended to.
The script is loaded with amusing one-lines and comebacks, but it wouldn’t have worked if not for the presence of Jason Cavalier. I’ve never seen this guy before, but he possesses the kind of screen presence that has made other cult film stars like Bruce Campbell so popular. But in addition to a healthy dose of charisma and acting ability, he also has the screen fighting and stunt work technique down.
The action in this film is fantastic. I mean it. Putting the cheap special effects aside, Cavalier musters some incredible fight scenes with a variety of opponents ranging in skill. The approach is an unabashed ripoff of the STREET FIGHTER films. Basically, this is THE STREET FIGHTER with Cavalier doing his best Sonny Chiba impression every chance he gets. The thing is, it’s credible. He dons a black fishnet shirt and armbands that hide small knives. He uses exaggerated Kyokushin breathing control and rips vital organs from opponents like a starved fatty set lose on a box of chocolates. The gimmicks are all there, the x-ray limb breaks and the invented martial arts techniques like the “Skull Destruction Fist.” But Cavalier adds even better choreography and stunt work.
There are a couple car scenes that are extremely well executed given available resources. Actually, the one where Cavalier and Woodhouse are dragged behind a Pontiac Firebird is pure genius by any standard. Cavalier uses a knife hidden in his armband to cut himself loose before performing a flying kick straight through the windshield of another oncoming car. Why the hell are we having to watch fantasy wire nonsense in multi-million dollar duds like ELEKTRA and ULTRAVIOLET when badass stunt work like this is pushed to the back of the Hollywood breadline? I would take a 100 ORDER(s) OF ONE over any single CGI-infested pile of rubbish.
Okay, got that out of my system. Let’s continue.
The screen fighting is just as good. Cavalier employs a wide assortment of holds, takedowns, kicks, and general bodily destruction. Most of the supporting cast gets involved with some performing better than others. The highlight is a brawl in a garage that gets set up earlier when we see a flashback of Cavalier making “friends” in prison. Cavalier and Woodhouse end up taking on half a dozen thugs and the result is well orchestrated chaos.
The action and Cavalier’s performance is enough to recommend ORDER OF ONE, but the way in which the film is put together with tight, stylized editing, steady pacing and solid camera work just makes it near perfect, minus the excessive close-ups. Like a Quentin Tarantino film, ORDER OF ONE toys with its characters and the audience. Great use is made of flashbacks, especially a scene that takes the viewer back to World War 2. And the build up to action scenes are spot on. Honestly, I haven’t had so much giddy fun watching a movie since SIN CITY (ironically one of the few successful CGI-infested actioners available).
The amazing thing is how the crew members stepped up to fill multiple roles and perform them all well. David Findley is not only the producer. He also provides a decent soundtrack and plays a martial arts-fighting strip club owner caught between his abusive bosses and Cavalier. Cavalier’s co-star Melantha Blackthorne also wears three hats for she’s also the DP and one of the editors.
ORDER OF ONE rekindles the good old days of ’70s action cinema when budgets were always low, tastes were lower and films were made to be consumed like cheap beer. Woodhouse’s flick pays homage to the best of these, which like THE STREET FIGHTER continue to be rediscovered by new audiences looking for something less pretentious, bloated or stuffy than typical mainstream movies. This film will definitely not appeal to everyone, but I’ll be damned if it doesn’t rock the socks off of those of us who consider Sonny Chiba in all his karate-killing glory to be the epitome of cool.
by Mark Pollard- Sagibm00
