I have been a passionate supporter of DTV/VOD action films for many years. Although these productions may lack the resources of their higher-budgeted counterparts, they often compensate for this with creativity, talent, and dedication.
In the past, at least during my earlier years, discovering these overlooked gems required a trip to the local video rental store. However, today, most of them are easily accessible online. The rise of streaming has broadened the audience for these films, allowing DTV stars like Scott Adkins and Frank Grillo to reach more fans than ever before.
While this surge has been particularly beneficial in the West, we’re not the only ones who recognize that action is one of the most beloved genres on streaming platforms. China has become incredibly prolific in producing web-based content, with the streaming service Hi-YAH! showcasing numerous new Chinese action films in its library.
Of course, just like in the U.S., not all films produced in China are of a high quality; many subpar movies continue to appear alongside the true gems. A notable recent release from Hi-YAH! is the Martial Arts/Gangster film hybrid, The Mob. Whilst not in the same league, I found The Mob to be highly reminiscent of the likes of Chang Cheh’s Boxer from Shantung (1972) or more recently Gao Xixi’s The Game Changer (2017). Like those films, The Mob takes a gangster tale and infuses it with no shortage of martial arts scenes.
Taking place in 1920’s Shanghai, The Mob focuses on the Zhou family who are currently going through something of a power struggle for control of the city. With them morally against the distribution of Opium in the city, the Zhou end up at loggerheads with the Zheng family who don’t share their moral obligation to the city. After the murder of the Zhou’s family patriarch, his youngest son Fang (Xu Fangzhou) plots his revenge, a scheme that could put the whole of Shanghai in jeopardy.
The first thing apparent with The Mob that differentiates it from other streaming content is the quality of its production, with excellent production values, appealing cinematography and fine performances. Putting these together with some well thought out fight scenes raises the film’s overall quality. Now it will never go down as a classic but The Mob will certainly satisfy those looking for a quick action fix.
This film is undoubtedly more rewarding than any of director Zhao Cong’s prior works. Titles such as The Man Named Leopard (2019) and Jurassic Revival (2022) didn’t particularly raise my anticipation as I approached The Mob, but I found myself pleasantly surprised. While the storyline may not present anything groundbreaking, relying on the familiar theme of power struggles common in the gangster genre, Cong maintains a steady pace, ensuring that we are never left waiting too long before another action scene unfolds.
When it comes to action, Cong prefers long, steady shots that allow the audience to appreciate the choreography. While the fight scenes can feel somewhat repetitive, often showcasing our hero battling a small group of axe-wielding thugs, there’s no denying the talent of the performers involved. Despite the similarities in the fights, one particular set piece stands out featuring Xu’s Fang facing a small army all on his own. This scene is undoubtedly the lengthiest action sequence in the film, and what sets it apart is Cong’s direction, as it unfolds in what appears to be a single continuous take. While camera tricks are employed to seamlessly blend the transitions, this doesn’t diminish the breathtaking quality of the action. It’s a compelling reason alone to watch the film.
One notable advantage this film holds over other similar productions is its ability to push certain boundaries. Viewers familiar with productions from Mainland China are well aware of the strict regulations governing what can be depicted. Typically, any portrayal that casts China in a negative light must be minimized or eliminated. Additionally, films often require that criminal characters face consequences for their actions by the conclusion. However, The Mob cleverly downplays this expectation. While there are occasional lines suggesting that British influences bear some responsibility for Shanghai’s criminal undertakings, the film largely avoids the usual grand speeches endorsed by the CCP praising the greatness of China and its people.
I must confess, I wasn’t particularly familiar with most of the young cast members, as I haven’t seen much of their work. Xu Fangzhou delivers a compelling performance as a charismatic hero, portraying a character with enough morals and humanity to distinguish him from the other criminals he encounters. Xu brings a vibrant energy to the role, showcasing his physicality in many of the film’s action sequences. I’m not sure if Xu initially has a martial arts background, not knowing much about the performer but he convincingly portrays a martial arts hero on screen, pulling off some elaborate choreography.
Co-star Zhang Juran similarly excels in his portrayal of a conflicted member of the Zheng family. While he is loyal to his adopted father, he recognizes when things are amiss, yet familial honor prevents him from acting against it. Like Xu, Zhang participates in a significant amount of action, and while he convincingly delivers during these scenes, his movements appear somewhat more rigid than Xu’s.
The villainous role is taken on by the duplicitous Zheng Zuyan, played by Chen Junxi. Zuyan embodies the archetype of the spoiled child often seen in gangster cinema, yet Chen infuses enough personality into the character to make him memorable. As the film progresses, Zuyan becomes increasingly treacherous, leading viewers to root for his downfall by the conclusion.
Bringing a touch of gravitas to the film is seasoned actor Lam Wai, who appears only in the opening chapter. His character’s death ignites the main plot. Despite his limited screen time, it’s a delight to see such a legendary figure from Hong Kong cinema in the film. While there are countless films to reference, fans of Hong Kong cinema will likely recognize Lam Wai from classics like Long Arm of the Law (1984) and Project A Part II (1987), amongst others.
The Mob doesn’t reach the heights of other Chinese streaming productions like Blind War (2022) or Hunt the Wicked (2024). Those films were particular standouts in terms of action. Even a mainstream actioner would maybe struggle to come close to the quality of action in each of those mentioned. However, it is still a well made martial arts action movie that keeps you entertained through its entire 102 minute runtime.
Hi-YAH! subscribers will no doubt have already tuned into The Mob, but those who don’t have access to the streamer will be able to purchase a copy of the film digitally thanks to the good people at Well Go USA.
Plot: 3/5
Acting: 3/5
Action: 3.5/5
Overall: 3.2/5
