The 9 best films of films of all time, classified

By Joshua Tyler | Published 1 hour ago

The sword struggle has been a basic element of the action genre since the first days of film.

And when a duel is good, he stays with you.

What makes a sword fight a sword fight? For the purposes of this list, we stay with a unique fight, in which at least one of the two combatants is fighting with a real sword.

So do not Jackie Chan versus the AX gang on this list, unfortunately, but you must seriously see that immediately because Wow, Jackie Chan is a lunatic that doesn’t care about anything for her own safety and you must love him for it.

With what a sword fight is established, we now have to discover what makes it good.

And it is not enough for a duel to be technically competent. It has to mean something, surprise, move or make the incredible happen. It also helps if it is beautiful.

Hide your sixth finger if you have one because this is a giant robot and these are the best films of movies.

Blade

In the final confrontation of BladeHalf-Vampire Hunter of Wesley Snipes faces Deacon Frost by Stephen Dorff.

By the time Blade faces Frost in the Temple of Eternal Night, the film has spent almost two hours establishing exactly what kind of fighter is: ruthless, efficient and soft as hell. The final fight charges all that.

Choreographed by Jeff Ward with contributions from Snipes himself, a real martial artist with experience in Karate and Capoeira de Shotokan, the fight combines the game of swords, the melee fight and the film touch.

Frost, supercharged with blood magic, is faster and stronger than the face of any Blade opponent. It does not block, it is absorbed. Do not dodge, it regenerates.

Fans remember the fight not for their delicacy, but for their great factor. It is a duel soaked with blood, techno and attitude, a reflection of everything that made Blade a success that defines gender. Paved the way to The matrix, Underworldand even the modern Marvel boom.

Rob Roy

Rob RoyThe final duel, between Rob Roy Macregor by Liam Neeson and Archibald Cunningham by Tim Roth, is the soul of the film.

This fight is intimate, brutal and personal. Located in a marked living room in daylight, without music or crowd, strips the sword fight to its coldest form: survival.

Cunningham is a trained aristocrat: fast, agile, sadistic. Rob Roy is slower, broader and more completely self -taught. And that imbalance is exactly the point.

Roy is completely overcome. He stands firm but is being killed, slowly, while we look.

The choreography was designed by William Hobbs, a veteran director of struggle known for realism about flash. Neeson and Roth trained widely for the scene, and insisted on doing all of themselves, which adds to the tension on land and high risk.

Rob Roy does not win for delicacy, but for pure will and resistance force, which culminated in an act of sudden and explosive violence that converts the tables into the last second.

Kill Bill

The final fight between Uma Thurman’s girlfriend and Lucy Liu’s O-Ren is not just the climax of Kill Bill Vol. 1“It’s a moment of pure and kinematic poetry.”

The director Quentin Tarantino shot him in a huge sound scenario in Beijing. The production designer Yhei Taneda and photography director Robert Richardson made him a visual dream landscape.

Choreographed by Yuen Woo-ping, the legendary fighting teacher behind The matrix And innumerable classics of Hong Kong, the duel combines Samurai’s discipline with the Chinese sword game.

This is not a striking fight: it is measured and respectful, more Kurosawa than the movie Kung Fu. There is little dialogue. Only the snow crunch and the steel clash.

The duel was directly inspired by a very similar confrontation in the classic 1973 Japanese revenge film Lady Snowblood. He even used music from that movie in the closing credits of his film.

Hook

Everything that happens in Peter Banning’s life leads to the hook. And in the final moments of the film that bear the name of their antagonist, Banning becomes a child again, enough to face it in an epic duel.

The fight takes place on the Hook ship, a luxurious set designed to resemble each child’s fantasy of a pirate den.

There are ropes to balance, jumping stairs and enough space for an old school sword fight. And that is exactly what Spielberg offers, with a capricious turn of Peter Pan.

Robin Williams trained widely in fencing for paper, trained by Acrobatics Coordinator Nick Gillard (who later worked in the Star Wars prequels). Dustin Hoffman, leaned hard on character, causing Hook’s technique to be Foppish but dangerous, increasingly theatrical as lethal.

The duel is both the performance and the game of swords. Boads hook. Bread mockery. It is not a struggle for the destiny of the world, but for identity, revenge and closing.

The choreography combines real fencing techniques with fantasy that challenges gravity, after all, bread can fly, which adds a dream advantage to the sword.

Hook’s final position, completes with a last mocking monologue, gives the villain its due. And the refusal of bread to kill him directly feels like something out of a storybook, because it is.

Drunken Master 2

We are presenting this entry in Drunken Master 2Since this is the best martial arts film ever made, but almost every time Jackie Chan has her hands on a sword she probably deserves to be on this list.

There is only one sword fight in Drunken Master 2But because Jackie Chan does not know how not to be totally original, it is one of the most unique sword fights ever captured in the movie.

Most of it takes place with the average fighters under a train, caught in the operation of its filming train.

The enemy is interpreted by Ken Lo, the bodyguard of Jackie’s real life and an elite martial artist, whose precision turns space into a mined field with knife edges.

This fight was filmed in the place, using a real train. There were no digital effects or green screens because this is a Jackie Chan movie.

The choreography, coded by Lau Kar-Leung and Chan himself, is a master class in improvisation defense. Jackie uses her environment with genius: steel rods, train axes and narrow spaces become a weapon and shield. It is less about the form and more about survival.

There is no wire work. There are no camera tricks. Only relentless movement, real danger and perfect time.

And somehow, Chan makes it fun, despite the bets. That is the magic of Drunken Master 2: You can’t believe what you are seeing and yet you are smiling all the way.

Pirates of the Caribbean

Jack Sparrow’s final duel with Barbosa in Pirates of the Caribbean It is the chaotic, cursed and intelligent heart of the entire film.

Jack shoots Barbossa in his heart. Nothing. Barbossa stabs Jack through the chest, and moments later, Jack enters the moonlight to reveal that he is also cursed.

It is also disturbingly beautiful. It is located in a cave illuminated by the moon that contains bright Aztec gold and implies a trick achieved by an incredible effect magic: moon rays turn combatants into living skeletons.

While the two dance between beams of the moon, crossing swords, their true forms are revealed and hidden, revealed and hidden.

Both Johnny Depp and Geoffrey Rush performed most of the sword work, under the guidance of the veteran fighting choreographer George Marshall Rage.

The victory does not come through the brute force but through the game of hands and the perfect moment. While Barbossa gloats, Elizabeth returns the last currency and drops it with a blood offer, wearing the curse just in time so that the Jack’s gun will finally shoot.

Return of the Jedi

He Return of the Jedi The duel between Luke Skywalker and Darth Vader was not the most acrobatic or technically complex as some later in the series, but it may well be the most powerful.

Filmed in a sound scenario in Elstree Studios in 1982, the duel was choreographed by the acrobatics coordinator Peter Diamond, a veteran of the fight in the British stage. Mark Hamill and David Prowse were on the set for staging, but the real saber blows were often handled by specialist Bob Anderson in Vader’s suit.

Anderson, a world -class sword feator and teacher, gave Vader attacks a weight and precision that helped transmit the power of the character even underneath.

It’s not just a fight, it’s an identity test. Vader is not trying to win. He stops, perhaps because he doesn’t want to kill his son, or because he is ready to light Vader.

No flips. Without flowering. Only a father, a son and a weapon that means more than a sword of light.

The bride princess

Swashbuckling -style sword fights, born outside the stage, were the standard in Hollywood since their early days. The style that made Errol Flynn famous and sent to the public of the 1930s, 40, 50 and 60 The bride princess When Inigo Montoya fought against the man in black.

No double acrobatics were used, and actors Carey Elwes and Mandy Patinkin trained for months with legendary Hollywood sword teachers.

Like those great Errol Flynn duels, the sequence was designed with fun as its northern star. That does not mean that reality was not a factor. The duel was meticulously choreographed, and the fencing movements mentioned in the dialogue, such as Bonetti’s defense, are true fencing styles.

Highlander

Highlander is a franchise full of fantastic sword fights, both in films and the underestimated Highlander television program.

But climate duel at the end of the first Highlander Movie between Connor and Kurgan, establishes the pattern.

The fight, filmed in a decrepit silver studies in Queens, New York, is an atmospheric master blow.

Christopher Lambert played Connor Mcleod, and he, by the way, is legally blind. In real life, wear very glasses, a device that I could not wear during this fight.

Clancy Brown, imposing like Kurgan, was instructed not to go with all his strength during rehearsals, ignored that, almost hurting Lambert more than once.

The reflective floor, the blue ray, the collapsed assembly, is an opeistic one without being overloaded.

The moment when Macleod finally decapites the Kurgan and states that “the prize” is iconic, crowned by Queen’s rock anthem and a whirlwind of visual effects of the era of the 80s.

There really is no better way to limit a duel than with a song written for her by the queen.

You are probably wondering why Hidden dragon tiger It is not on this list, and I would tell you, but … Oh no, I have floated randomly before I could say something.