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Walid (Megat Sharizal) is prepared to impart some after-school lessons. This photo is courtesy of Outsider Pictures.
LOS ANGELES, July 27 (UPI) — Martial arts movies often follow a similar structure, but they can be as distinctive as the martial art form portrayed. Walid, which hit New York theaters on Friday, presents the Malaysian Silat style in an action-packed film that sheds light on the social issues faced by Malaysia.
Walid (Megat Sharizal) teaches spelling and reading to undocumented immigrants who are unable to attend public school. Walid takes a personal interest in Aisha (Putri Qaseh Izwandy).
When Aisha is kidnapped by Pa Ku’s (Namron) gang of human traffickers, Walid takes on the investigation that the Malaysian authorities refuse to handle and proves that he is not just a peaceful teacher, but also a formidable fighter.
Walid teams up with two agents (Sham Putra and Yusran Hashim), and together they battle Pa Ku’s men in order to rescue Aisha and all the other kidnapped children. One of Pa Ku’s gang members (Jebat Zulfar) even joins forces with the heroes after turning against Pa Ku.
The archetype of the peaceful warrior is a common theme in Hollywood. They strive for non-violence until circumstances force them to fight.
For instance, John Wick would have left everyone alone if they hadn’t killed his dog and stolen his car. Steven Seagal’s films often revolved around eastern philosophy, but somehow he always ended up using Aikido to defeat the bad guys. Seagal also integrated social messages into his martial arts movies with his environmentalist and pro-Native American films, which seemingly contradicts his current Russian connections. Similarly, Billy Jack advocated for peace and tolerance, but only until the bad guys refused to listen to reason.
Therefore, the first half of Walid showcases Walid’s efforts to educate underprivileged individuals whom the government neglects, with the hope of building a kind and intelligent generation that can contribute to the improvement of Malaysia.
Early on in the film, there are a few scuffles to establish the prevalence of Silat on the streets of Malaysia. However, the harsh reality of human trafficking eventually compels Walid and others to take action.
Walid features well-executed choreography captured with clear footage and skillful editing. While at times the action can be slightly more frenetic than necessary, the fight scenes are impressive and presented in a straightforward manner without becoming as convoluted as those in the Jason Bourne movies.
Both the heroes and the enemies display impressive fighting skills. The victors deliver bone-twisting moves that are likely enhanced by visual effects, but nonetheless appear convincing.
The climax of the movie takes place at the human traffickers’ warehouse but continually moves through new areas, such as the rafters and catwalks, to change the dynamics of the fight.
Naturally, the prolonged fight loses some of its gracefulness as both the heroes and villains become exhausted and engage in more primal brawling.
Walid serves as a great platform for its cast of talented fighters and actors, who may very well attract attention from Hollywood, much like the stars of The Raid – Iko Uwais, Joe Taslim, and Yayan Ruhian.
Furthermore, it highlights the directorial skills of Areel Abu Bakar. Perhaps he will also have an opportunity to work on a Hollywood project, but until then, audiences can anticipate more intense action from his productions in Malaysia.
Walid will expand to Los Angeles on August 11.
Fred Topel, a UPI entertainment writer based in Los Angeles, attended film school at Ithaca College. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. To read more of his work in Entertainment, visit his profile.
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