Contour

Contour, the feature film debut from bay-area indy action team The Stunt People, is a triumph of modern action filmmaking.

Well, a qualified triumph: even the director is quick to admit that the humor (in this case everything that isn't action) is downright painful, and the production values are far below the standards of hollywood or even DTV... everything is clearly visible, but nothing is shiny. If you were channel surfing and stumbled onto a non-action scene, you'd be quick to surf on.... but you'd miss out on one of the most important martial arts films of the decade.

Minimal sets and props, a limited cast, questionable humor and acting is a recipe for disaster as there isn't much left to carry the film except the action. However in this rare case the limitations work in the film's favor, because the filmmakers obviously poured everything into the action scenes, and the results are stunning enough that it seems petty to judge the film on any other basis.

The martial arts on display are far above the standards of Hollywood. The choreography, performances, filming and editing are 100% solid, equal to or better than all but the most classic Hong Kong fu flicks (if less grand). No doubling, choppy editing, or shaky-cam here, but lots of long shots where opponents trade entire series of moves. The 17-minute final fight is exhausting in the best way - nearly nonstop blow-for-blow, there are probably 1000 moves in this scene alone. For action fans used to sitting through mediocre films for a few dozen or hundred moves this is a bachannalian orgy of fighting. And the combat is not only dense, but intelligent - clever counter-moves, adjusting styles to suit opponents, giving people tastes of their own medicine. Little touches like these make the action much more engaging, and add humor and personality that elevate it even further. I'm intellectually and emotionally engaged for so long that I almost long for the relief at the end of the scene.

The reason Contour not only kicks ass but qualifies as genuinely important is that it offers a model for modern action filmmaking - it proves that through sheer talent, a small team of and dedicated people can overcome a shoestring budget make an action film that leaves fans more satisfied than most recent Jet Li or Jackie Chan films. Action addicts whose minds have been blown by this little firecracker of a film will be watching closely to see if other indy action features, such as YeahSureOkay by Zero Gravity stunt team, can repeat the success of this formula.