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Action films have a long history, but the innovative fight choreography we see today owes much of its development to Hong Kong cinema in the 1970s. While fight sequences have become increasingly sophisticated over time, not all memorable fights rely solely on martial arts. Some stand out due to their unique settings or innovative cinematography, while others impose restrictions on the characters, forcing them to fight in tight spaces or with specific weapons. The best fight scenes offer insights into the characters themselves, unveiling aspects of their personality that might remain hidden otherwise.
These distinctive fight scenes can often outshine the movies they’re in and continue to be referenced and celebrated long after the reasons for the characters’ conflicts are forgotten. In this list, we’ve gathered 20 films from various genres that share a common element: they all feature exceptionally unique and memorable fight scenes.
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20 Movies With Really Unique Fight Scenes
Captain America 2: The Winter Soldier
In the spy-thriller Captain America 2: The Winter Soldier, Steve Rogers, who has uncovered a dangerous truth, is labeled a threat by S.H.I.E.L.D. The S.T.R.I.K.E. team is sent to apprehend him due to the suspicious nature of his name, which lacks sufficient periods. This tense confrontation unfolds within the confines of a cramped elevator at the Triskelion, S.H.I.E.L.D.’s headquarters in Washington, D.C.
Before the clash begins, Steve Rogers offers a defiant challenge, asking if anyone wishes to back down. The elevator is filled with more than ten heavily built operatives armed with high-voltage tasers, magnetic restraints, and specialized combat training. Despite the handicap of having one hand restrained, Steve efficiently overpowers most of his adversaries. He even takes down Brock Rumlow, a character who later becomes a notorious villain, by hurling him into the ceiling and allowing him to crash to the ground. This scene effectively utilizes the confined space, and the overhead shot depicting numerous black-clad individuals sprawled on the elevator floor around Captain America is a fitting conclusion to the intense encounter.
Raiders of the Lost Ark (1981)
Few fight scenes in cinematic history have executed a trope subversion as masterfully as the gunshot scene in “Raiders of the Lost Ark.” In this iconic moment, Indiana Jones finds himself surrounded by adversaries in a bustling Cairo marketplace. Among his foes is a formidable swordsman in black, eager for a showdown. The crowd watches in awe as the swordsman expertly wields his scimitar, displaying his skill with deft moves and a mischievous smile concealed by his long beard.
Legend has it that this scene was originally conceived to showcase Indy’s remarkable proficiency with a bullwhip, which he would use to disarm the swordsman in a clever and intricate manner. However, due to Harrison Ford’s battle with dysentery, a common ailment afflicting many of the crew during the location shoot, Ford suggested a more direct approach: shooting the swordsman. This moment is a brilliant parody, in line with the character of Indiana Jones, who is a tribute to the adventure serials that filmmaker George Lucas enjoyed during his youth. It perfectly encapsulates what any nine-year-old watching these classic face-offs would expect the hero to do.
Mortal Kombat (1995)
While 1995’s Mortal Kombat may not be a cinematic masterpiece, it opted to prioritize its fight scenes, and this choice is evident in the film. The original video game was famous for its supernatural characters and unique settings, many of which drew inspiration from Chinese mythology. In a particular showdown, Johnny Cage, an American action star, faces off against Scorpion, a masked ninja with spider-like powers.
The battle takes place in an artificial forest with evenly spaced trees, creating a natural corridor for the fighters to engage in. This environment complements one of Scorpion’s abilities, which involves launching a snake-like rope appendage from his hand to pull opponents closer, much like a scorpion.
The movie adds its own twist to the trope by having Cage use the trees to his advantage, which was not a feature in the video game. Nevertheless, the fight is well-executed, boasting excellent production design and, considering the era, relatively decent computer graphics.
The Court Jester (1955)
Basil Rathbone is most famously recognized for his role as Guy of Gisbourne in the classic film “Robin Hood” alongside Errol Flynn, where he portrayed the quintessential swashbuckling villain. In “The Court Jester,” a more comical production featuring Danny Kaye, Rathbone’s character, Lord Ravenhurst, engages in a crucial swordfight with Kaye’s character. Initially outmatched, Kaye’s character is magically transformed into a skillful swordsman, resulting in a humorous and impressive battle, reminiscent of the charm found in Charlie Chaplin’s films.
What makes this even more fascinating is that in reality, Basil Rathbone was a two-time British Army Fencing Champion during his youth, often providing assistance to his fellow actors in mastering their swordplay skills. This intriguing fact adds a cool dimension to his portrayal of the antagonist, as it implies that the actor behind the evil Sir Guy of Gisbourne played a role in teaching Robin Hood how to fence.
Desperado (1995)
“Desperado” serves as the second installment in Robert Rodriguez’s Mexico trilogy, featuring a final showdown between renegade mariachi guitar players and a drug cartel that controls a small Mexican town. This film reunites Antonio Banderas with Carlos Gallardo, who previously portrayed the main character in Rodriguez’s low-budget indie film, “El Mariachi.”
The movie is characterized by gritty guitar riffs, intense explosions, and over-the-top deaths as characters are shot while falling from buildings. It’s a contemporary take on the Western genre, and Rodriguez’s directing style is as dynamic and attention-grabbing as the audience’s consumption of popcorn.
The climactic battle scene not only showcases Banderas’ guitar case filled with firearms but also introduces a trio of guitar-wielding, trigger-happy heroes. To top it off, Gallardo surprises with two guitar cases that cleverly conceal machine guns, ejecting spent shells and reloading with a swift motion. Another unnamed guitarist steals the show by revealing a rocket launcher hidden in his case, promptly obliterating the armored limousine the villains arrive in. The entire sequence is a delightfully entertaining spectacle to behold.
Eastern Promises (2007)
In the movie “Eastern Promises,” Nikolai, a low-ranking member of the Russian mob, finds himself in a dangerous situation orchestrated by his own associates because he becomes too involved with a civilian, a nurse. This nurse has information that could expose the boss’s involvement in the statutory rape of a young Russian sex worker who tragically passed away while giving birth to the boss’s child.
In a gripping and intense scene set in a bathhouse, Nikolai faces off against rival Chechen adversaries. He’s completely naked, showcasing his lean but muscular physique adorned with traditional tattoos. This appearance serves as a reminder that one should never underestimate a slender person, as they often possess unexpected fighting skills. The fight is primal, akin to a battle between ancient cavemen and a formidable beast, with the combatants wielding talon knives.
Nikolai endures a brutal beating but ultimately manages to defeat his two Chechen opponents, leaving their lifeless bodies in the steam-filled room. His resilience and resourcefulness in this perilous situation are truly impressive, considering most people would struggle to come out on top in such a fight, especially while practically nude and just out of the shower.
John Wick 3: Parabellum (2019)
In the third installment of the John Wick series, Keanu Reeves’ character, John Wick, is unexpectedly confronted with a room full of various knives, all securely displayed behind glass. This happens as a result of the typical fast-paced and action-packed nature of John Wick movies, where the exact reason for such situations isn’t as important as the thrilling outcome.
After a relentless struggle involving smashing through the glass displays and disarming the adversaries of their firearms, the fighters finally take notice of the assortment of knives at their disposal. The room features a variety of bladed weapons, including Bowie knives, machetes, throwing knives, hatchets, dirks, stilettos, and daggers. However, in Wick’s skilled hands, they all become deadly throwing knives. As the battle unfolds, some of the henchmen end up with multiple knife handles protruding from their bodies, and a few unfortunate ones meet their demise with knives thrust into their skulls. This intense and gory sequence is in line with the high-octane action that defines the John Wick franchise. What sets it apart is the exclusive use of bladed weapons, making it a standout and arguably the best fight scene in the series.
Happy Gilmore (1996)
In the movie “Happy Gilmore,” Adam Sandler’s character is portrayed as a hot-headed hockey player who is prone to picking fights with anyone who challenges him. This includes his unlikely golf partner, Bob Barker, who is best known as the long-time host of “The Price is Right.” The climax of the film occurs when Happy loses his temper and punches Bob Barker during a confrontation with a paid heckler.
What sets this fight apart and continues to be funny even after more than 25 years is how it subverts expectations. Despite his age, 72 at the time of filming, Bob Barker emerges as the unexpected winner in the brawl, showcasing his boxing skills against the younger Sandler character. The humor is heightened by the fact that Bob Barker, known for his family-friendly image and multiple Daytime Emmy awards, uses Happy’s own words against him, saying, “Now you’ve had enough… b****,” after knocking him out.
It’s worth noting that Bob Barker passed away just a few months ago, and in a touching tribute, Adam Sandler wrote a heartfelt farewell to his former on-screen sparring partner.
Saving Private Ryan (1998)
In the intense and harrowing climax of the battle to secure a small bridge in Saving Private Ryan, a series of smaller confrontations unfold amidst the chaotic urban warfare. In one particular scene, Mellish, portrayed with great depth by Adam Goldberg, finds himself locked in a life-and-death struggle with a German soldier who is significantly larger than him, both in height and build, by about four inches and 60 pounds.
At this moment, firearms are no longer in play; they’ve lost their weapons in the course of blind gunfire that tore through the walls. It becomes a brutal hand-to-hand combat, with both men engaged in a desperate fight, grappling with each other amidst the urban rubble. They battle over a wounded fellow soldier who is bleeding from a neck injury, and the horror of the scene is compounded by Private Upham, who, though aware of the savage struggle just upstairs, is paralyzed by fear and unable to intervene. The screams emanating from the upstairs confrontation are nightmarish.
For a brief moment, it appears as though Mellish might gain the upper hand, and he draws an approximately 8-inch bayonet. However, the German soldier proves to be the stronger adversary, and in a horrifyingly intimate moment, he locks eyes with Mellish from just inches away as he slowly thrusts the bayonet through Mellish’s chest, piercing his heart. The German soldier is still drenched in sweat as Mellish takes his last breath.
They Live (1988)
The late Rowdy Roddy Piper, known to some as Da’ Maniac from “It’s Always Sunny in Philadelphia,” and baritone Keith David engage in a five-minute alleyway brawl. This fight is the epitome of realism, featuring dirty tactics, biting, broken glass, tackling, grappling, trash-talking, actual hits, choking, and even some wrestling moves. It’s the most authentic street fight on this list, and it seems never-ending, a showdown where it’s hard to distinguish who the unstoppable force and the immovable object are. It’s a thrilling and enjoyable spectacle.
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Oldboy (2003)
The originator of the contemporary corridor fight scene is the Korean movie “Oldboy” directed by Park Chan-wook. This film is a highly stylized and emotionally charged revenge story that follows a former prisoner named Oh Dae-su. He seeks to get even with the person responsible for his wrongful imprisonment while also navigating a new romantic relationship. Oh Dae-su engages in a brutal battle against numerous adversaries armed with pipes and clubs in a grimy hallway. He only has a claw hammer and his determination, enduring severe beatings and even having a knife lodged in his back. The long, unbroken shot, as if seen through one of the corridor’s walls, immerses the audience in the spatial dimensions of the fight. The absence of cuts and Dae-su’s visible exhaustion adds a hyperrealistic touch.
The impact of this fight scene was so significant that it has since become a standard element in action films.
The Legend of Drunken Master (1994)
In the 1978 original film “Drunken Master,” Jackie Chan’s English language remake presents a more flamboyant and performance-oriented version of the Drunken Fist fighting style. Surprisingly, this style proves to be quite effective in combat. In a scene where he confronts purse-snatchers in a town square, Jackie’s character actually consumes alcohol to enhance his fighting abilities. His techniques mimic the stumbling and unsteady movements of an intoxicated person. These unpredictable motions bewilder and disorient his adversaries, allowing him to deftly evade their attacks. This showcases Jackie as one of the foremost martial artists and physical comedians of his time.
Inception (2010)
A notable example of innovative combat scenes is found in Christopher Nolan’s film Inception. In one memorable sequence, Joseph Gordon-Levitt engages in a surreal battle within a dream, while simultaneously, in another layer of the dream, his physical body experiences a shifting gravity during a car chase. This results in a visually striking and unique cinematic moment.
What’s remarkable is that the camera captures the rotating hotel hallway without relying on CGI, creating the illusion that gravity is not fixed. Gordon-Levitt and his opponent seem to defy gravity, moving on walls and the ceiling. Navigating this ever-changing dreamscape is challenging even without the physical combat. Fortunately, a gravity shift occurs at a crucial moment, allowing Gordon-Levitt to reach for a weapon and dispatch his adversary, concluding the scene in a memorable fashion.
The Matrix Reloaded (2003)
The second installment in The Matrix series, titled The Matrix Reloaded, expanded on the technological advancements introduced in the first film and significantly increased the focus on action sequences. Keanu Reeves’ character, Neo, fully embraces his role as “The One” and showcases his extraordinary powers in a memorable scene set in an armory.
In this scene, Neo demonstrates his incredible abilities by stopping a barrage of machine gun bullets midair, fired by the henchmen of the enigmatic character known as the Merovingian. This intense confrontation then transitions into a six-on-one battle that incorporates impressive kung fu moves. Interestingly, the fight takes place in an old-fashioned armory adorned with various medieval weapons such as swords, halberds, and polearms, leading to an armed melee.
While this movie was released during a period when films often emphasized the dramatic sound of unsheathed knives, the scene remains captivating and exudes a sense of relentless coolness. It unfolds like the ultimate fantasy for a Dungeons & Dragons enthusiast. The fight choreographer, Yuen Woo-ping, who also contributed to the film “Legend of Drunken Master,” delivers a remarkable display of his skills, orchestrating a complex and multi-weaponed battle that is predominantly captured in engaging two-shot sequences. This approach maintains a sense of intimacy while ensuring clarity for the audience
The Incredibles (2004)
When Bob and Helen Parr, the parents of a super-powered family, are occupied with their arch-enemy on his island hideout, their hidden children, Violet and Dash, are instructed to stay concealed in a cave. However, if they are discovered, they are told to embrace their powers (invisibility and super speed) and assume their heroic personas known as “The Incredibles.”
The kids are forced out of their hiding place when the exhaust from a rocket launch exposes them, and they quickly catch the attention of the guards patrolling the island. What makes this battle remarkable is that the children have never truly tested the limits of their powers in a real-life situation, and they are learning on the fly. Confronted by rotating hovercrafts reminiscent of those from “Johnny Quest” and guards armed with machine guns, Dash discovers his ability to dodge punches and has a priceless moment when he realizes he can run on water.
In the meantime, a split-second decision to protect her brother reveals Violet’s newfound skill to create impenetrable force fields. They even collaborate, with Dash running inside her force field like a hamster wheel to deflect the hovercrafts and ultimately defeat the adversaries. It’s a captivating sequence that showcases the characters’ growth, coincidentally occurring during a fierce battle.
X2: X-Men United (2003)
In the second X-Men film, X2: X-Men United, director Bryan Singer made a striking introduction of the character Kurt Wagner, also known as Nightcrawler, a mutant with blue skin and teleportation abilities. This was done by having Nightcrawler launch a daring attack on the White House, nearly assassinating the president in the Oval Office.
The scene cleverly depicted Nightcrawler’s teleportations with distinctive sounds resembling slamming doors, which created confusion among the Secret Service agents, making them believe there were multiple assailants. The sequence also showcased Nightcrawler’s exceptional hand-to-hand combat skills in a slow-motion style, where he seemed almost motionless for a fraction of a second each time he struck or neutralized an agent. It was like a super-powered version of someone distracting you by tapping your left shoulder while they stood to your right.
Despite Scottish actor Alan Cumming’s impressive performance as Nightcrawler, he chose not to reprise the role due to the extensive time required for makeup. Although a younger version of Kurt has been portrayed by Kodi Smit-McPhee, Cumming’s portrayal remains distinctive and noteworthy for his significant contribution to innovative fight scenes in the X-Men lore.
Blade (1998)
Wesley Snipes’ portrayal of Blade in the opening fight scene of the movie was responsible for introducing three significant changes to modern cinematic action films, all of which had a lasting impact.
First, the stylish black leather and vinyl outfit he wore, which became popular thanks to “The Matrix” the following year, was perfected by Snipes. His black body armor and leather trenchcoat with a slot for his katana set the trend, and although the concept of bullet-time was not fully developed in this film, it was later perfected by the Wachowskis.
Second, the film explored the concept of psycho-sexual vampires, a theme that later became more prominent in media like “Twilight” and “True Blood.” This was evident throughout the movie, particularly in the opening fight scene featuring Traci Lords, who played the role of a seductive vampire luring her civilian boyfriend to the club.
Lastly, Wesley Snipes emerged as the archetypal black action hero. While there are iconic action stars that have influenced many, such as Bruce Lee, Richard Roundtree, and Sigourney Weaver, Snipes made an immediate and lasting impact with his performance. From his striking entrance to the final showdown with silver-tipped weaponry, he became an iconic figure. Watching him take down numerous half-naked, blood-soaked vampires with house music in the background is a timeless and classic moment in the world of superheroes. Even with the release of over 30 MCU films, “Blade” remains one of the most iconic and badass superheroes, and the opening fight scene highlights the reasons for this.
Birdman or (The Unexpected Virtue of Ignorance) (2014)
The confrontation between Michael Keaton and Edward Norton in “Birdman” is a brilliant example of self-referential parody, showcasing their acting prowess. They play stage actors engaging in a humorous yet meaningful fight, using props like newspapers and flip-flops. Norton’s character, Mike, is portrayed as a narcissistic artist who even uses a tanning bed on the crew’s budget to get into character. This fight scene, where Norton’s character teases Keaton’s character about his superhero past and gets punched in the nose, is both funny and poignant.
The scene reflects the real-life actors in a funhouse mirror, capturing the essence of backstage drama in a Broadway play. In “Birdman,” director Alejandro González Iñárritu demonstrates his talent in blending existential magical realism with his cultural background, creating a smart and sublime film.
The 36th Chamber of Shaolin (1978)
Certainly! In one of the most captivating fight scenes showcasing the character’s growth, a young Gordon Liu, later known for his work in Quentin Tarantino’s Kill Bill films, takes the lead in “The 36th Chamber of Shaolin,” a remarkable kung fu masterpiece. Liu plays a revolutionary student who escapes his village when the oppressive Manchu government tries to suppress political activism. He implores the Shaolin temple’s abbots to teach him martial arts to defend his people.
After rigorous training and rapid progress, Liu challenges his teacher, the Justice Abbot, to a public exhibition match at the temple to prove his martial prowess. The Justice Abbot wields two short swords, effortlessly disarming Liu’s staff and landing multiple hits on him. Undaunted, Liu returns after further training, this time armed with a Crescent Moon Spade, a staff with blades on both ends, one flat and wide and the other shaped like a crescent moon. Although he performs better, he still receives 17 hits from his master’s blade, each of which would have been a real injury in a combat situation.
Determined to improve, Liu retreats to a bamboo forest, where a sudden inspiration strikes him. He fashions a three-section staff by chopping down a thick bamboo stalk and adding hinges at two more places. This unique three-part bamboo staff aligns perfectly with his arms and fighting stance, resembling a cross between nunchaku and a pole, connected by small chains at the joints. Armed with this innovative weapon, Liu manages to disarm the Justice Abbot and land a blow on him. The fight is not only visually stunning but also immensely satisfying, as it highlights the tremendous effort and dedication Liu put into his training.
There Will Be Blood (2007)
Director Paul Thomas Anderson’s adaptation of Upton Sinclair’s “Oil!” is a modern masterpiece. While it lacks large set pieces, it stands out on a list of fights due to its unique portrayal of raw violence. In “There Will Be Blood,” most of the film focuses on business dealings and conversations. Even in the final scene, where Paul Dano’s Eli Sunday and Daniel Day-Lewis’ Daniel Plainview engage in a ten-minute conversation that seems like a friendly chat, the tension gradually builds. Sunday shares his plans for expanding his church and updates Plainview on his congregation’s activities. However, the slow burn moment occurs when Plainview reveals that what Sunday desperately pleads for no longer exists. It’s a moment of catharsis for Plainview, who had been publicly humiliated by Sunday for his mistreatment of his deaf son.
Catharsis alone isn’t enough for Plainview. He is old, rich, unhinged, and consumed by hatred, and he needs to vent this hatred through violence. Sunday, completely unprepared for the raw, vicious outburst of Plainview’s true nature, attempts to flee and hide as Plainview approaches him like a grizzly bear, hurling bowling pins and shouting in a frenzied, demonic manner. The violence is strikingly real and terrifying, presenting a more humanistic depiction of violence than what is typically seen in movies.
The famous last line, “I’m finished!” represents Plainview’s declaration that he has reached the end of his journey, both in terms of his personal descent into madness and his ruthless pursuit of wealth in the oil business.
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