El Corvo is martial artist with an iron fist, but he is nothing like Marvel’s Hero-for-Hire or RZA’s Kung Fu hip hop hero. He is more like an invulnerable serial killer from a slasher horror movie, but with incredible chops. However, he might just meet his match in a motivated American ex-con trying to rescue his biological daughter throughout Ernesto Diaz Espinoza’s Diablo, which releases this Friday in theater and on-demand/digital.
Rather counter-intuitively, Kris Chaney paid to be smuggled into Colombia from the United States. Perhaps even more ill-advisedly, the traffickers try to extort more money from him upon arrival. He is played by Scott Adkins, so good luck with that.
Chaney had to keep his visit secret from Vicente, a big Columbian boss, who was once part of Chaney’s bank heist crew. Then Vicente betrayed Chaney and stole his lover. By the time she realized his true colors it was too late, but she made Chaney promise to save their daughter Elisa once he was released from prison. Of course, Elisa only knows life as Vicente’s daughter, so she rather resists Chaney’s rescue, at least initially.
Unfortunately, El Corvo (which translates to “The Crow,” but he nothing like the immortal Eric Draven either) is the wild card in Chaney’s feud with Vicente. Bearing a bitter grudge against the latter, the hulking killer with metallic arm (complete with a lethal selection of attachments) attempts to abduct the already abducted Elisa, to prosecute his vicious revenge plot against Vicente. At this point, Elisa starts to appreciate Chaney, since he seems to be the only mortal who can temporarily fight off El Corvo.
Frankly, co-star Marko Zaror’s fight choreography might just be some of the most intense and frequently brutal beatdowns genre fans have seen in years. (It ranks right up there with the bone-crushing Avengement, also starring Adkins.) This is the sort of film that will have you yelling “oomph” and “yow,” even if you are watching alone, in the privacy of your own home.
It also represents perfect casting. Obviously, Adkins and Zaror have all kinds of skills and moves. Adkins also has the right brooding earnestness for Chaney. Zaror’s severe screen presence sometimes makes heroic leads challenging, but his imposing physicality is perfect for El Corvo, who is like Lurch from The Adams Family, but with Matrix-level Kung Fu.
Lucho Velasco is also aptly sleazy and slimy as Vicente, while still nicely hinting at paternal protectiveness. Alanna De La Rossa is a real headache as Elisa, but that is clearly what is required by Mat Sansom’s screenplay (building on Adkins & Zaror’s story).
Regardless, the spectacular fight sequences are what this film is all about. Adkins and Zaror deliver in a big way, repeatedly. Enthusiastically recommended for serious marital arts fans, Diablo releases this Friday (6/13) in theaters and VOD.