Jaa’s first movie can be found in the foreign language section of the video store. It’s called “Ong-Bak: The Thai Warrior” and it also a great movie. “The Protector” was initially released as “Ong-Bak 2” overseas but was sponsored into America by Quinton Terantino’s production company, Baa Ram Ewe.

Tony Jaa is being billed as the next Jackie Chan and he lives up to it. In fact there is a cameo by Jackie that seems to indicate an official passing of the torch.

This film does several things right, which will look familiar to fans of Chan. The portions of the film that are in Thailand everyone speaks Thai (subtitled). When in Australia they speak English. Given Australia’s tight gun laws it’s possible that most thugs rely of brute force, so it’s not the type of martial art movie where the whole movie should have been over in a five minute fire fight. Instead the fight scenes are phenomenal and original, but not ridiculously implausible, and not repetitive.

I also demand a “smart factor” from my action hero’s. I can’t stand when the hero runs out of ammo but doesn’t pick up any of the half-empty guns on fallen enemies. Our protagonist uses a weapon when it is available.

What about the “R” Rating?

There wasn’t any tough language in the film and if there is nudity it’s not gratuitous.

The R is definitely for violence, and that is best reserved for films where a hero is attempting to do something noble. Our protagonist has more than enough reason to seek revenge but it’s clear that his mission is to find his elephants.

The bad guys are clearly aggressive and violent, but our hero doesn’t really stoop to their level. He shows remarkable restraint through-out the movie. There are no coupe de grace scenes or much collateral damage. The R is probably 90% for a fight scene nearly movie’s climax. Every Martial Artist under the sun will reply the same way if asked, “What would you do if someone attacked you with a knife.” The answer is, “break his arm.” At the risk of spoiling the surprise there are probably 50 guys wielding knives.

Larger Story

When I say larger story I speak in reference to John Eldredge although he makes no claim to have created the concept. It’s become a style of film criticism in which secular movies are examined for elements of truth that transcend the intended scope of the film. Not necessarily Christian themes so much as human themes from the perspective of a person who believes we are all in God’s story.

Our hero’s mission doesn’t change because the odds against him grow. His mission is relational—he wants his family back. Our hero has virtually no resources, no local connections, nor is he even familiar with local customs. Still he is able to conduct an investigation into organized crime, and determine who to trust in the crime family and in the corrupt local police department. He is a classic example of a hero who knows who he is and what he must do—and does it.