Affinity
Critic Alec Toombs doesn't have an affinity for "Affinity," but it’s rad when people are throwing hands as opposed to holding ‘em.
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If you’ve seen “Undisputed 3: Redemption,” “Machete Kills,” “John Wick: Chapter 4,” “The Killer’s Game,” “Fight or Flight” or “Diablo,” you know Chilean martial artist/actor Marko Zaror always comes to play. His latest is the romantic, sci-fi/action flick “Affinity” (available on VOD beginning Tuesday, Sept. 30) and it largely lives up to his reputation … at least when it comes to the kicking, punching and shooting.
Zaror stars as Bruno, a former Navy SEAL suffering from post-traumatic stress disorder. Bruno’s comrade and friend Joe (Louis Mandylor, who just directed the Scott Adkins vehicle “Prisoner of War” – my review here) has given him a job working as a cook in his Thailand-based restaurant.
Bruno encounters an unconscious Athena (Jane Mirro) when he finds her washed up ashore. He takes her back to his home and nurses her back to health. When she awakens they develop a quick and deep bond. Bruno’s found purpose in his life again through Athena, but she’s soon taken by Krieger (Brahim Chab, he worked with Zaror as fight choreographer on the aforementioned “Fight or Flight”) – hired muscle for a mad scientist named Dr. Kovalovski (Ego Mikitas) to whom Athena’s mysteriously connected.
Bruno reaches out to Joe and their fellow friend Fitch (Brooke Ence) to aid him in retrieving Athena. Shit hits the fan.
“Affinity” is directed by Brandon Slagle (he directed the crummy, alligator-centric creature feature “The Flood” from a few years back) and is scripted by Zaror’s mother Gina Aguad, Christopher M. Don, Liam O’Neil and Zaror from a story by Zaror and the late Daniel Zirilli (I was sad to hear of his recent passing as I enjoyed interviewing him here).
The bottom line with “Affinity” is this: much of the character and romantic stuff doesn’t work in the slightest, but all of the action elements are aces. Zaror serves as action and fight director and his skirmishes sing. These fights as shot by Niccolo De La Fere (he lensed the aforementioned “Diablo” and “Prisoner of War”) and edited by frequent Zaror collaborator Ernesto Díaz Espinoza (he helmed the aforementioned “Diablo” and the bulk of Zaror’s Chilean output) are clear, convincing and cool. There are also instances where a first-person shooter perspective is employed and these are pretty neat.
It’s probably too much to say I have an affinity for “Affinity,” but it’s rad when people are throwing hands as opposed to holding ‘em.