Ahmed Ezz plays Khalid, while Karim Abdel Aziz takes the role of Ghali, and both actors clearly have the responsibility of carrying the movie. The problem is that neither one creates the kind of screen presence you expect from a modern action hero. They are competent performers, but the characters never develop enough charisma or personality to make audiences truly invest in them. Instead of becoming larger-than-life heroes, they often disappear beneath the production surrounding them.

The filmmakers appear to have tried to compensate by adding as much as possible. Salman Khan, Sanjay Dutt, Monica Bellucci and Giancarlo Esposito are brought into the mix, while the story jumps through international locations, criminal conspiracies, massive gunfights, vehicle sequences, digital effects, anime-inspired imagery and elaborate action set pieces. The intention is obvious: if one big element makes a blockbuster exciting, then several dozen should make it even bigger.

It does not work that way.

When writers try to put every possible blockbuster ingredient into the same screenplay without giving any of them enough room to develop, the result can become less exciting rather than more. 7 Dogs frequently feels like a checklist of action-movie ideas rather than a story with its own personality. The screenplay moves from one spectacle to another, but the characters and emotional stakes struggle to keep up.

Adil El Arbi and Bilall Fallah, the directors of Bad Boys for Life and Batgirl, understand large-scale Hollywood filmmaking, and their experience is visible in the technical execution. The production also brought in 87Eleven Action Design, known for its work on the John Wick movies, to help construct the action. The fights, shootouts and set pieces have the expected level of professional choreography, while the camera frequently moves at high speed to emphasize the scale.

But this is also where the movie exposes its biggest weakness. You can hire some of the best people in Hollywood, spend enormous amounts of money and build massive sets, but money cannot automatically manufacture a blockbuster. The technical quality is there, yet the movie rarely feels alive. The action looks expensive, but expensive is not the same thing as exciting.

The production’s attempt to recreate global locations through Riyadh’s Al-Hisn Big Time Studios also contributes to that artificial feeling. Shanghai and Mumbai are presented through elaborate digital environments, but the texture and unpredictability of real locations are missing. Everything looks controlled, polished and constructed, which makes the world feel more like a giant set than a living international thriller.

That makes 7 Dogs another example of a familiar problem in international cinema: trying to replicate the Hollywood blockbuster formula instead of developing a style that belongs to its own industry. Arabic cinema has its own history, performers and storytelling traditions, but this movie seems determined to prove that it can look like Hollywood. Unfortunately, even with serious money and access to top international talent, it cannot quite capture what makes the best Hollywood blockbusters work.

7 Dogs will probably satisfy viewers who want nonstop spectacle and do not care much about character development or originality. For everyone else, it is a useful reminder that a blockbuster is not created by adding more stars, more effects and more action. Without compelling heroes and a story that knows what it wants to be, all that money simply produces a very expensive imitation.

Harris is called back into action after former fellow soldier Elliot Carter, played by Steven Cree, turns against his country and takes the U.S. Joint Chiefs of Staff hostage inside a nuclear bunker. Carter is determined to gain access to the nation’s nuclear arsenal, leaving Harris with a ticking clock and virtually no room for mistakes.

The movie also stars Hannah Ware and Dolph Lundgren, with Lundgren playing Harris’ commanding officer. For fans of Adkins’ increasingly popular straight-to-video action career, Lundgren’s presence adds another major martial arts and action icon to the lineup.

One Last Shot continues the story established in 2021’s One Shot and 2024’s One More Shot, completing the trilogy of missions centered on Harris.

While the premise promises another contained, high-pressure military thriller, the nuclear threat raises the stakes considerably. Adkins’ reputation for delivering physical action remains the film’s biggest attraction.

One Last Shot is now available for pre-order and arrives on DVD and digital platforms September 22.

“It’s a dirty business,” Dwight warns in the teaser. “And everyone gets a little stained.”

Season 4 finds Dwight trying to legitimize his growing empire while protecting the people around him. But corrupt politicians, new enemies and a devastating personal loss begin closing in from every direction. The harder Dwight fights to secure his future, the more he is forced to return to the ruthless street instincts he developed back in New York.

Tulsa itself is becoming a battleground, with Dwight once again positioned as the man nobody can afford to underestimate.

The new season also introduces Gretchen Mol as a series regular, joining Stallone and returning cast members Martin Starr, Jay Will, Frank Grillo, Neal McDonough, Kevin Pollak, Annabella Sciorra, Garrett Hedlund and Dana Delany.

Created by Taylor Sheridan, Tulsa King features Terence Winter as head writer and executive producer, with Sheridan and Stallone also serving as executive producers.

Tulsa King Season 4 premieres October 16 exclusively on Paramount+.

Ritchson has built his screen presence around physicality, confidence and larger-than-life action characters, but Motor City deliberately keeps him restrained. The character barely speaks, and the movie itself almost completely removes dialogue from the experience. Instead, scenes unfold in near silence, with music carrying much of the emotional weight while characters fight, drive, stare and move through the story. It is certainly a bold decision, but it also creates a strange viewing experience, especially for anyone coming to the movie expecting a traditional Alan Ritchson action vehicle.

The biggest problem is that the silence does not necessarily make the action more powerful. In several scenes, you are watching something violent or dramatic happen while the soundtrack does most of the talking. There is an interesting visual idea behind it, but the execution can feel more experimental than entertaining. Rather than building momentum through dialogue, character interactions and escalating tension, the movie often asks the audience to simply watch the images and listen to the music.

That approach also makes Motor City a strange choice for action fans. The movie clearly has action, including brutal fights and revenge-driven confrontations, but it does not present them in the way you would expect from a film starring Ritchson. If you are watching because you want to see the physicality that made him popular in movies and television, you may come away disappointed. The film seems much more interested in atmosphere and style than delivering a steady stream of action.

Potsy Ponciroli, who previously directed Old Henry, brings a strong visual identity to the project. The production creates a heavily stylized version of 1977 Detroit, and the cinematography and editing are designed around the film’s unusual storytelling approach. There are moments when this works surprisingly well, particularly when the visuals and soundtrack combine to communicate what the characters cannot say.

But style can only carry a movie so far. Motor City is an experiment, and whether that experiment works will depend heavily on what you expect from it. For viewers looking for something different, the near-silent structure and music-driven storytelling may be worth experiencing. For action fans expecting another showcase for Alan Ritchson, this is probably not the movie they are looking for.

Motor City is not a bad idea, but it is a strange one. And if you want to see Alan Ritchson delivering the kind of action that made him an action star, this is simply not the role that fits him.

The new film leans hard into ’90s throwback energy and keeps the tone light. It shows more self-awareness than the 1994 version, which was chaotic but still memorable for its time. The release timing strengthens the retro angle, landing in the same year as the next Mortal Kombat film. It brings back the old console rivalry for a new round on the big screen.

The assembled cast included Noah Centineo (Ken Masters), Andrew Koji (Ryu), Jason Momoa (Blanka), Roman Reigns (Akuma), Callina Liang (Chun-Li), 50 Cent (Balrog), reigning WWE champion Cody Rhodes (Guile), MMA champion Alexander Volkanovski (Joe), David Dastmalchian (M. Bison), Andrew Schulz (Dan Hibiki), Vidyut Jammwal (Dhalsim), Eric André (Don Sauvage). Orville Peck (Vega), Olivier Richters (Zangief), Hirooki Goto (E. Honda), and Mel Jarnson (Cammy).

Filming began in August 2025, with a worldwide release set for October 16, 2026.

The Emmy Award-winning animated series will pick up after Mizu, voiced by Maya Erskine, sailed toward London in search of the two remaining men who could be her father. Her revenge mission is now moving far beyond Japan, opening the door to a completely new world of enemies, alliances and dangers.

The new season follows Mizu through London as she encounters new friends, old foes and the demons that have driven her violent quest. Meanwhile, back in Japan, Akemi and Taigen find themselves navigating Edo Castle under a dangerous new shogun, while Ringo searches for a new purpose after everything he has experienced.

The move to Europe could also challenge Mizu in unexpected ways. Having spent much of her life viewing foreigners as monsters, she will now have to confront Western culture firsthand.

Created by Amber Noizumi and Michael Green, Blue Eye Samurai has already been renewed for a third and final season, expected in 2028. That means Mizu’s story now has a destination, but there is still plenty of blood to spill before she gets there.

Season 2 arrives on Netflix in January 2027, promising more sword fights, revenge and the visually stunning action that made the first season such a breakout hit.

White plays Jason, a disgraced veteran struggling with opioid addiction whose life takes a violent turn when he discovers a woman being trafficked during a rideshare trip. Instead of walking away, Jason takes matters into his own hands, killing a corrupt congressman to rescue her and immediately putting a target on his back.

Unfortunately for Jason, the situation only gets worse. Traffickers, the Russian mob and law enforcement all begin closing in, while a homicide detective attempts to cover for him. What follows is a bloody escalation that eventually sends Jason on a desperate mission to rescue the woman and take down the criminal operation behind her abduction.

The premise clearly puts Drive Through Fire in the same territory as Liam Neeson’s 2008 hit Taken, where one determined man goes after a trafficking network after a woman is kidnapped. But this time, the hero is carrying plenty of personal baggage of his own.

Directed by Lauren Bond and Jim Carlson, Drive Through Fire looks set to deliver a combination of street-level crime, brutal action and revenge-driven suspense. For Michael Jai White fans, the film also promises another opportunity to see the martial artist and action veteran bring his physical presence to a character pushed far beyond his limits.

The film is scheduled to arrive on VOD and digital platforms on September 11, 2026.

Best known for playing Ivan Drago in Rocky IV and appearing in action favorites including Universal Soldier and The Expendables, Lundgren has spent decades projecting an image of unstoppable strength. Unbreakable aims to show what was happening behind that image.

The film traces Lundgren’s journey from a difficult childhood in Sweden to international stardom, while exploring the personal battles he rarely discussed publicly. Childhood trauma, chronic injuries and a serious cancer diagnosis all become part of the story, presenting a portrait of an action hero whose toughest fights weren’t always happening on screen.

Adding plenty of star power are interviews with some of Lundgren’s legendary colleagues, including Sylvester Stallone, Arnold Schwarzenegger and Jean-Claude Van Damme. Their appearances are combined with archival photographs, home videos and footage from across Lundgren’s career.

What makes Unbreakable particularly interesting for longtime action fans is the chance to hear Lundgren reflect on the man behind the familiar screen persona. The documentary promises a mixture of nostalgia, personal revelations and stories from a career that helped define the golden era of Hollywood action cinema.

For fans who grew up watching Lundgren throw punches on VHS, Unbreakable could offer something more valuable than another action movie: a closer look at the real man who spent decades convincing audiences he was indestructible.

The documentary premieres on VOD and major digital platforms on October 6, 2026.

Michael Bisping is probably the biggest missed opportunity here. He has everything needed to carry an action movie, including an authentic fighting background, screen presence and enough acting experience to move beyond simply playing the tough guy. Atlas gives him a character with a little more emotional weight, and Bisping proves that he can handle the responsibility. The problem is that the movie surrounding him is simply not good enough. Watching Bisping here actually makes you wonder what he could do with a stronger director, better script and a production that knows exactly what kind of movie it wants to be.

The supporting cast only makes the strange nature of Atlas King more obvious. Sarah Wayne Callies, known for The Walking Dead and Colony, is seriously underused, while François Chau appears in a supporting role that never develops into anything particularly memorable. George Finn plays Tommy, whose story eventually becomes almost as important as Atlas’ own, while John Edward Lee takes on Bender. The movie constantly shifts its attention between these characters, creating the feeling that several different films have been pushed together.

Then there is Cuba Gooding Jr. as crime boss Clay Emerson. Unfortunately, by this point, seeing Gooding Jr. attached to a low-budget action production has become something of a warning sign. He has delivered strong performances throughout his career, but his recent choices have created an unfortunate association with projects that feel like failures before they even reach the screen. Atlas King does little to change that perception. He plays the villain with plenty of energy, but the character feels more like another familiar obstacle than a genuinely threatening antagonist.

Director Nika Agiashvili clearly wanted to make something bigger than a conventional MMA movie. The film begins with underground fighting and Atlas’ connection to the combat world, but gradually turns into a crime story and eventually a heist. That ambition is respectable, but the transitions are awkward, and the movie never completely settles into one identity. There is a redemption story, a family drama, a romance, organized crime and action, but none receives enough attention to become truly compelling.

The action is where Atlas King should have been strongest, and Bisping certainly helps. His fights feel natural because he does not need to pretend he knows how to move inside a cage. The choreography is reasonably physical, while the shootout adds some variety, but the camera work and production limitations prevent the action from reaching the level that Bisping’s presence promises.

What makes Atlas King frustrating is that there is a decent movie buried somewhere inside it. Bisping can absolutely carry an action film, but this is a bad example of what he can do. The production feels underdeveloped, the story is overcrowded and several recognizable actors appear trapped in roles that never justify their presence.

If you are a serious Michael Bisping fan, an MMA viewer or someone who enjoys discovering obscure low-budget action movies, Atlas King may still provide enough entertainment for one evening. Just do not expect the film to demonstrate what Bisping is truly capable of, because unfortunately, it does almost the opposite.

As outrageous as the title sounds, the movie is being kept surprisingly secretive. Plot details remain under wraps, leaving audiences with one obvious question: what exactly did Statham do with that bike?

The project is directed by David Leitch, the filmmaker behind action favorites including John Wick, Atomic Blonde, Deadpool 2 and Bullet Train. That makes the combination of Statham and Leitch particularly promising for anyone expecting a healthy dose of stunt work alongside the comedy.

Statham is reportedly playing a character reminiscent of his CIA field agent role in the 2015 action comedy Spy, where he deliberately turned his normally intimidating screen persona into a parody of the unstoppable tough guy.

Jason Statham Stole My Bike was written by Alison Flierl from a story by Flierl and Scott Chernoff. Leitch and Kelly McCormick are producing for 87North, the production company behind a growing lineup of stunt-heavy action films.

With the title doing most of the marketing already, the mystery surrounding the story may actually be part of the fun. Whatever happens, Statham, Leitch and 87North suggest this bike theft is unlikely to end quietly.