For action fans, Scott Adkins is one of the most underrated actors in the industry. After small roles in Jackie Chan's Hollywood adventures, Adkins rose to fame with the role of Boyka. Adkins subsequently dominated the direct-to-demand world with occasional hits like Universal Soldier: Judgment Day, Retribution, and One Shot. And while his work was highly revered by those who watch any action movie (read: me), it was his portrayal of Killa Harkan in John Wick 4 that brought him worldwide acclaim.
The same can be said for Marko Zaror. He starred in several films alongside Adkins and even played the final boss in Sultan, a Bollywood film starring Salman Khan. But it was his role as Chidi in the fourth John Wick film that captured everyone's attention. Diablo, by Ernesto Díaz Espinoza, co-written by Mat Sansom, Adkins, and Zaror, tells the story of Kris Chaney, who arrives in Colombia to visit Leonor Piamonte's grave and then stalks Elisa, the daughter of a gangster named Vicente. After observing Elisa's usual route to school, Kris kidnaps her to talk to her.
Director: Ernesto Díaz Espinoza
Writers: Mat Sansom, Scott Adkins, Marko Zaror
Stars: Scott Adkins, Marko Zaror, Lucho Velasco
At first, Elisa isn't interested in hearing about the man who kidnapped her, but when Kris reveals he's her biological father, she becomes wary. According to Kris, Vicente had him imprisoned for the past 15 years and had Leonor killed when she was planning to lure Elisa away from the world of crime. A few weeks before her death, Leonor asked Kris to promise that if anything happened to her, she would rescue Elisa from Vicente's influence. Given the way Vicente raised Elisa, she finds it hard to believe him. But when Vicente announces a cash prize for whoever reunites him with Elisa, and all sorts of vicious thugs, the most dangerous being El Corvo, attack her, she must decide between allying herself with Kris or trusting those thugs to bring her back to Vicente.
Diablo has a fairly simple story. Its themes aren't very deep. The conversations aren't that profound. The script is good enough to feature some engaging martial arts sequences without making the film feel like a mere short film for the production company or the actors. The film aims to talk about friendship and betrayal, and there are hints that a thirst for power and money must have been at work between Kris, Vicente, and Leonor. Perhaps jealousy and unrequited love were also present. But the scriptwriters don't devote much time to that.
The film aims to highlight the state of law and order in Colombia and how ordinary people are reluctant to intervene and help because the consequences are too grave. However, when it comes to choosing between initiating an action sequence or reflecting on its themes, the film always opts for the former because, well, it's not that kind of movie. Last but not least, the women. There are a total of five female characters: Carolina exists off-screen, Leonor is dead, Alex and the police die on-screen, and Elisa is a sort of damsel in distress. It's either a commentary on the patriarchy stifling feminism or just bad writing.
It's quite striking that, while most of the attention is focused on the subplot involving Kris, Elisa, and Vicente, everything related to El Corvo ends up taking center stage. For starters, the guy has a lot of scars and is missing a hand. And instead of limiting himself to that, he's turned that left hand into a canvas for various prosthetic weapons, a la Han from Enter the Dragon. We get the backstory as to why he's this way, but we never learn why he asks the women if they've indulged themselves all week before killing them. He looks like Teeka Ram Jain from Tribhuvan Mishra's CA Topper, but with incredible combat skills.
I'm torn between whether I want to know more about him or if it's the ambiguity that makes The Corvo such a fascinating entity; either way, in the realm of direct-to-digital releases, he's one of the best villains I've seen. As for all the hand-to-hand combat scenes, they're truly mind-blowing. Espinoza (who is also the editor), along with cinematographer Niccolo De La Fere, the stunt team, sound designers, costume designers, makeup artists, VFX artists, and special effects artists, has done a splendid job. From the first fight, where Kris sets foot in Colombia, to the last, which takes place in an old cement factory, everything is filled with great choreography, dynamic sets, drama, and excitement.
As for the performances in Diablo, Adkins delivers a performance you've seen him perform hundreds of times before. It's not bad, it's not incredible; it just is.
He's absolutely fantastic during the action sequences. Watching him deliver all those kicks, flips, and punches is incredibly satisfying. But when he has to sit down and talk, he goes into power-saving mode. He doesn't even hide his accent. And the funny thing is, if you've seen John Wick 4, you know what he's capable of. He just doesn't want to do all that for a direct-to-digital release; he'd rather let his legs do the talking. On the other hand, Zaror has delivered an unforgettable performance. Of course, he's incredible during the action sequences. The way he moves his entire body with that awkward prosthetic hand and that long, heavy-looking coat is hilarious. But he also shines in the quieter moments, whether he's staring unnervingly at someone or stitching up a gash on his head without flinching. Zaror as El Corvo is iconic. Lucho Velasco and Alanna De La Rossa are excellent. A shout-out to all the stuntmen who took the hits from Adkins and Zaror; if they hadn't, the stars wouldn't have looked so good.
Diablo is a delight for fans of the action genre, especially martial arts films. While it won't win any awards for its script, it certainly deserves universal praise for its combat sequences and Zaror's performance. And since it's left the door open for a sequel, I'm honestly looking forward to what Espinoza, Sansom, Adkins, and Zaror have in store for us. So, yes, please watch the film if it sounds like a good recommendation. That said, I now have something to say about the major streaming platforms for not yet granting access to an action franchise to figures like Adkins or Zaror.
I think direct-to-digital releases are at an interesting point. This year alone, while Mission: Impossible – Judgment Day, Ballerina, Yadang: The Informant, and Empuraan have dominated the big screen, we've seen equally great films like Last Bullet, Havoc, The Gorge, K.O., Bullet Train Explosion, Counterattack, Demon City, and Diablo. And given that Adkins and Zaror are so well-known in this industry, what's stopping the streaming giants from trusting them to do their job instead of greenlighting another disastrous, big-budget movie? I don't know; you tell me.
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