ONG BAK 2: THE BEGINNING
Directed by Tony Jaa & Panna Rittikrai
Written by Ake Eamchuen, based on a story by Mr. Jaa & Mr. Rittikrai
Released by Magnet Releasing
Thai with English subtitles
Thailand. 115 min. Rated R
With Tony Jaa, Primrata Dej-Udom, Santisuk Promsiri, Pattama Panthong, Saranyu Wongkrajang, Sorapong Chatree, Natdanai Kongthong, Nirut Sirijunya & Petchtai Wongkamlao 
 

Ong Bak: The Thai Warrior (2003) introduced the world to Tony Jaa, master of the martial arts discipline of Muay Thai. The film was fun and creative, and proudly presented Mr. Jaa’s wireless, effects-less stunt work, replaying the same stunt over and over from different camera angles. The unusual Thai flavor and action were unique, and led the film to a modestly successful U.S. release (for a Thai-language movie anyway).

Ong Bak 2: The Beginning takes a Chronicles of Riddick tack, turning the sequel into a prequel with a greater scope and a bigger budget that enhance absolutely nothing that audiences enjoyed about the first film. It is set 600 years earlier, in the treasonous multi-ethnic world of Siam in the 1400s. Given my complete lack of knowledge about the period, and the relative lack of knowledge among the likely American audience, I think it’s safe to leave discussions of the historical accuracy of the costumes, characters, and of Tony Jaa’s Russell Brand hairstyle to the experts. (I could only make out the film’s royalty because their costumes resembled Yul Brynner’s.)

Despite the setting, the plot is that of the most bare-bones kung fu film. Tony Jaa plays Tien, son of a general loyal to the king who is orphaned at the hands of traitors. He escapes death and is brought up by the just and generous leader of a moral group of bandits that teach him the way of combat. Upon becoming a man, Tien must—say it with me—seek revenge for the murder of his family.

The film’s ambitions seem to have stifled its creativity. There are a few interesting action bits (especially some involving elephants), but by and large the film’s choreography lacks the imagination of the Jackie Chans and Stephen Chows of the world, or even of the first Ong Bak film. The set pieces are relatively joyless and don’t show us much that we haven’t seen before.

The sequel also has just enough obvious artifice to make you question what is and isn’t real (there are effects and wire stunt credits, so there is some fakery somewhere in the film). The cinematographer attempts to establish some vérité by using hand-held cameras in the middle of a fight, getting in very close, but the washed-out digital quality makes it feel like you’re watching “making of” footage which doesn’t match up with the look of other shots in the same sequence. First-time director Tony Jaa’s inexperience shows further in poor pacing, lack of character development, and some scenes that are complete non-sequiturs.

I was hoping to be able to whole-heartedly recommend Ong Bak 2: The Beginning, but its uninspired action and direction leads me to suggest saving your money and Netflixing the first film. Doug Yellin
October 23, 2009