Four college age kids from different walks of life enter an
underground mixed martial arts tournament known as “The Beatdown.” In order to prepare themselves, they train
under a mysterious loner known as Case. The
wisdom he imparts on his pupils proves useful both inside and outside the
octagon. On the eve of the event, an
altercation with some crooked cops puts his freedom in jeopardy. His students rush to his aid, and prepare to
root out the traitor that hides within their ranks.
Never Back Down 2
is the direct to DVD sequel to 2008’s Never
Back Down. The original was a
glossy, mean spirited Karate Kid
rip-off masquerading as a meaningful coming of age story. Michael Jai White not only plays the mentor
character this time out, but sits in the director’s chair as well. The film essentially follows the same tournament
scenario as its predecessor, but with a few notable changes. Similar to Warrior, it offers multiple protagonists instead of just one. Despite
the changes, Never Back Down 2 is only
a marginally better film than the original.
Visually the film is competent, though not terribly
distinct. The visual palette suitably expands
during the films more active stretches, only to contract during its more
mundane moments. Cinematographer Lukas Ettlin allows the camera to float freely
in certain environments and situations.
During a frat party, he zeroes in various forms of debauchery in what
feels like a modern variation of “bullet-time.” The camera circles around the
protagonists during the requisite training montages, allowing an all-encompassing
view of the techniques being practiced.
The fight choreography by Larnell Stovall is both functional
and technically precise. The fighters
transition smoothly from stand up-fighting to ground techniques. Elements of capoeira, boxing, and traditional
wrestling are integrated into a cohesive whole.
The mostly conservative visual approach is something of double edged
sword. It renders the fights clear and
understandable, but it also robs them of immediacy. None
of the set pieces really stand out except for one where a handcuffed Michael
Jai White fends off multiple attackers.
On the positive side, the training montages treat viewers to some rather
unorthodox drills and strength training techniques. This adds a bit of much needed variety to the
sometimes mundane setting.
In true B-Movie fashion, the script is a bit too obvious in
how fleshes it’s characters out. It
throws the viewer a left hook by turning one of the protagonists into a villain
during the third act. Case’s training
apparently unleashes his inner bully. It’s
an interesting concept, but the film delivers it in a half-baked manner. Instead of happening gradually and
organically, the transition feels sudden and forced. The reaction of the other characters also
feels a bit muted considering the seriousness of the transgressions that take
place.
The principle cast of Never
Back Down 2 proves to be its weakest element. The performances range from passable to noticeably
bad. This undermines the suspension of
disbelief considerably. Alex Meraz and
Dean Geyer, whose characters spend a good deal of the running time at odds, are
nigh indistinguishable at certain points.
They seem to be playing two different versions of the exact same
character. Todd Deffee’s superhero
physique is constantly at odds with his oafish demeanor. Michael Jai White proves to be the film’s
saving grace in this regard. As always, he
exudes confidence and amazing physicality as Case. He even exhibits the ability
to poke sly fun at his stoic action hero image.
With Never Back Down 2,
Michael Jai White proves himself a competent director. He also reaffirms his place as one of America’s
most underutilized action stars. Perhaps
if he had been provided with a better script and a more capable group of
actors, Never Back Down 2 might have
been in the same pantheon as the superb Blood
and Bone. Good fight choreography
and solid, capable direction can only go so far in compensating for other noticeable
deficiencies. The actors have to be able
to convincingly sell the material for the audience to fully buy into it. Without that, the films other virtues run the
risk of going unnoticed.
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