THE KICK - VJ Confidential

The Kick (2011): A Comprehensive Review of the Thai-Korean Taekwondo Action Comedy

A Detailed Analysis of Prachya Pinkaew’s Cross-Cultural Martial Arts Misfire

Executive Summary

In the landscape of post-Ong-Bak Thai martial arts cinema, few directors carried as much weight as Prachya Pinkaew. His 2003 breakthrough Ong-Bak: Muay Thai Warrior had introduced the world to Tony Jaa and redefined screen fighting with its bone-crunching, stunt-driven realism. His follow-up, The Protector (2005), pushed the boundaries further with its legendary four-minute single-take staircase fight. Even his 2008 film Chocolate, starring the remarkable JeeJa Yanin, proved that Pinkaew could craft compelling action vehicles around female performers .

So when news emerged in 2010 that Pinkaew was directing The Kick a Thai-Korean co-production about a family of taekwondo masters living in Bangkok expectations were understandably high. The film promised to combine Pinkaew’s signature action choreography (with Panna Rittikrai, the legendary stunt coordinator behind Ong-Bak, on board) with the precision kicking techniques of Korean taekwondo . Add to the mix the presence of JeeJa Yanin (fresh off her star-making turn in Chocolate) and Thai comedy icon Petchtai Wongkamlao, and the ingredients seemed in place for another martial arts classic.

The reality, as critics and audiences discovered upon the film’s November 2011 release, was considerably more complicated. Produced on a $3.5 million budget and grossing just $344,288 worldwide, The Kick was a commercial disappointment that received mixed-to-negative reviews . On IMDb, it holds a 5.5/10 rating a score that reflects a film that action enthusiasts find watchable but deeply flawed .

The consensus among reviewers is strikingly consistent. The action sequences, particularly those featuring the film’s Korean leads, are often impressive filled with high-flying kicks, acrobatic flips, and inventive choreography . But almost everything surrounding the action the plot, the comedy, the character development, the music ranges from mediocre to actively embarrassing. One reviewer described it as “a weak film, but one that contains some great physical sequences so good in fact that they really deserve a film that is better than this one” .

This review will examine The Kick from every angle: its ambitious cross-cultural production and the creative tensions that shaped it, its narrative structure and the family dynamics that drive it, the performances that range from charismatic to wooden, the action choreography that remains its most compelling element, the comedy that frequently misses its mark, and ultimately its place in the canon of 2000s Thai martial arts cinema.

Movie Details

Category Information

Title The Kick (더 킥 / วอนโดนเตะ!!)

Release Date November 3, 2011 (South Korea, Thailand) 

Running Time 94 minutes 

Budget $3.5 million 

Box Office $344,288 

Director Prachya Pinkaew

Screenplay Not credited in available sources

Action Choreography Panna Rittikrai 

Producers Gang Seong-gyu 

Production Companies Baa-Ram-Ewe, Bangkok Film Studio 

Distributors Sahamongkol Film International (Thailand), Showbox/Mediaplex (South Korea) 

Rating PG-13

Languages Thai, Korean, English 

Main Cast

Actor Role

Cho Jae-hyun Master Mun (family patriarch) 

Ye Ji-won Yun Mija (Mun’s wife) 

Na Tae-joo Taeyang (eldest son, aspiring pop singer) 

Kim Kyeong-suk Taemi (daughter) 

Do Shigang Beom (family member) 

Lee Hundon Seokdu (family member) 

Kim Yiroo Yiroo (family member) 

Yanin Vismistananda (JeeJa Yanin) Wawa 

Petchtai Wongkamlao (Mum Jokmok) Uncle Mam 

Production Context: When Muay Thai Met Taekwondo

The Director: Prachya Pinkaew’s Diminishing Returns

Prachya Pinkaew’s trajectory as a filmmaker is a study in creative arcs. Between 2003 and 2008, he directed four films that collectively redefined what Thai action cinema could achieve: Ong-Bak: Muay Thai Warrior (2003), The Protector (2005), The Bodyguard (2004), and Chocolate (2008) . Each film pushed the boundaries of physical performance, showcasing martial artists whose skills rivaled anything coming out of Hong Kong.

But by 2011, the bloom was off the rose. Pinkaew’s American debut Elephant White (2011) had come and gone with little notice. The Thai action wave that he had helped launch was beginning to recede, replaced by new trends in Southeast Asian cinema. The Kick represented an attempt to recapture the magic a cross-cultural co-production that would blend the kicking techniques of Korean taekwondo with the raw physicality of Thai action filmmaking .

The choice of taekwondo as the film’s central martial art was significant. While Pinkaew’s previous films had focused on Muay Thai (the national sport of Thailand), The Kick shifted its attention to the Korean martial art. This was not merely a creative decision but a commercial one: the film was co-financed by South Korean investors, who understandably wanted their national art form showcased prominently .

The Action Team: Panna Rittikrai’s Last Great Work

One element that remained constant across Pinkaew’s films was the involvement of Panna Rittikrai, the legendary stunt coordinator and action choreographer who had trained Tony Jaa and helped create the aesthetic of 2000s Thai action cinema. Rittikrai’s approach was defined by its commitment to practical stunts, bone-crunching impacts, and a willingness to put performers through extraordinary physical challenges .

For The Kick, Rittikrai was tasked with choreographing action sequences that showcased taekwondo rather than Muay Thai. This required a different visual vocabulary: more kicks, more spins, more aerial acrobatics, less of the clinch work and elbow strikes that defined his previous films. The results, by most accounts, were mixed. The choreography was technically impressive, but it lacked the visceral impact of his work on Ong-Bak or The Protector .

The Cast: A Korean Family in Thailand

The film’s casting reflects its cross-cultural ambitions. The central Korean family the Muns are played by established Korean actors: Cho Jae-hyun as the patriarch, Ye Ji-won as his wife, and Na Tae-joo and Kim Kyeong-suk as their children . All are competent actors, but none had the martial arts backgrounds of the Thai performers who had anchored Pinkaew’s previous films.

This created an inherent tension. The film needed its Korean leads to perform complex taekwondo sequences, but they were actors first and martial artists second. The solution was to lean into the theatrical, almost dance-like qualities of taekwondo emphasizing form and precision over the brutal impact that characterized Rittikrai’s best work .

The Thai side of the cast was anchored by two familiar faces. Petchtai Wongkamlao (known as Mum Jokmok), a comedian and actor who had appeared in The Bodyguard and Ong-Bak, provided comic relief as Uncle Mam . And JeeJa Yanin, the star of Chocolate, appeared as Wawa a role that, to the frustration of many reviewers, was significantly smaller than her talents deserved .

Plot Summary: A Family Affair Gone Wrong

The Setup: Taekwondo in Bangkok

Master Mun (Cho Jae-hyun) is a Korean immigrant who runs a taekwondo gym in Bangkok, Thailand. His entire family is trained in the art, each member infusing it with their own distinctive style: his wife Mija (Ye Ji-won) practices “cooking style” taekwondo, son Taeyang (Na Tae-joo) favors a dance-infused approach, daughter Taemi (Kim Kyeong-suk) incorporates soccer-style kicks, and the youngest, Typhoon, can break anything with his powerful forehead .

Mun dreams of his children becoming taekwondo coaches and taking over the family gym. But Taeyang has other ambitions he wants to be a famous pop singer. Taemi, meanwhile, is more interested in her secret crush at school than in martial arts . The family’s tensions are established early, setting the stage for the character arcs that will unfold.

The Inciting Incident: Foiling a Theft

One day, while out in the city, Taeyang witnesses a group of thieves attempting to steal a priceless antique kris (a type of Eastern dagger). He intervenes, using his taekwondo skills to thwart the robbery and recover the artifact . The family becomes national heroes, celebrated in the media for their bravery.

But Pom, the leader of the gang, escapes in the chaos. Humiliated and enraged, he vows revenge against the family who interfered with his plans .

The Complication: The Gang Strikes Back

The gang’s retaliation is swift and brutal. Learning that the family’s youngest member has been sent to stay with Uncle Mam (Petchtai Wongkamlao) and his niece Wawa (JeeJa Yanin) at an animal preserve, the criminals track them down and kidnap the boy .

The terms are simple: steal back the kris artifact that Taeyang recovered, or the child dies. The family, now united by a common purpose, must use their martial arts skills to infiltrate the gang’s operations and rescue their youngest member.

The Journey: From Family Dysfunction to Unity

The film’s middle section follows the family as they prepare for the mission. They are aided by Wawa, whose own martial arts skills prove invaluable. The journey takes them through a series of set pieces: a fight in a crocodile-infested swamp (featuring “awful CGI crocodiles” that one reviewer called a low point), a confrontation at a zoo where the family uses their distinctive fighting styles against an army of thugs, and a final showdown at the gang’s headquarters .

The Climax: Dancing Through Danger

The film’s most controversial sequence involves Taeyang’s confrontation with a group of thugs. Trapped and outnumbered, he realizes that his opponent’s movements are synced to the music playing from his phone. He uses this to his advantage, unleashing a hip-hop dance-infused taekwondo routine that defeats his enemies in what one reviewer called “a huge embarrassment” and another described as “some really impressive jumps, spins and fighting” .

The final confrontation takes place at a zoo, where the family faces off against the gang in a twenty-minute action sequence. Elephants are involved. Pots and pans are wielded as weapons. The police, in a touch of absurdist comedy, only arrive after the fighting is over .

The Resolution: Family First

With the youngest member rescued and the gang defeated, the family emerges stronger than before. Taeyang, having learned the value of his taekwondo skills, reconciles with his father. The family’s bonds are reforged, and they return to their gym as heroes once more.

Character Analysis: The Faces Behind the Kicks

Master Mun and Yun Mija: The Traditionalists

Cho Jae-hyun brings a certain gravitas to the role of Master Mun, the family patriarch who has brought his Korean traditions to a foreign land. His arc is familiar: he wants his children to follow in his footsteps, but they have their own dreams. The film’s resolution in which Taeyang embraces his martial arts heritage while still pursuing music is meant to satisfy both perspectives.

Ye Ji-won’s Mija is given less to do, functioning primarily as the family’s emotional center. One reviewer noted that “the mother, daughter, and son characters were likable,” but the father and youngest child “could have been done without” .

Taeyang: The Dancing Martial Artist

Na Tae-joo’s Taeyang is the film’s central character, and his performance has been a point of significant contention. On one hand, his physical abilities are undeniable. As one reviewer noted, “he managed some really impressive jumps, spins and fighting in general,” demonstrating genuine athleticism that comes from competitive taekwondo experience .

On the other hand, his acting has been criticized as wooden. One reviewer bluntly stated that he “has the screen presence of a lump of butter. When he isn’t in movement, he practically disappears. Or you wish he would” . Another noted that “this Korean actor’s acting is poor and his martial arts is little better” .

The dance-infused fight sequences that define his character have divided audiences. For some, they represent an inventive fusion of taekwondo and hip-hop culture. For others, they are “a huge embarrassment” that undermines the film’s credibility .

Taemi: The Underutilized Sister

Kim Kyeong-suk’s Taemi shows genuine martial arts skills in the film, but like many supporting characters, she is given limited development. One reviewer noted that she “shows some fine skills” but exists primarily to round out the family rather than to contribute meaningfully to the narrative .

Wawa: The JeeJa Yanin Problem

JeeJa Yanin’s presence in The Kick is both a selling point and a source of frustration. The star of Chocolate had proven herself one of the most talented martial arts performers of her generation, capable of executing complex choreography with precision and charisma.

But in The Kick, she appears only about forty minutes into the film, and her role is limited . As one reviewer lamented, “they really should have focused the story on Yanin alone and concentrated on doing great choreography and extensive fight scenes and then this would have been something special instead of weak and generic” .

When she does appear, she delivers. One reviewer noted that “she’s as awesome as ever,” and her fight sequences are among the film’s highlights . But her underutilization is emblematic of the film’s larger problems: it had the talent to be great, but it didn’t know how to use it.

Uncle Mam: The Comic Relief

Petchtai Wongkamlao brings his characteristic energy to the role of Uncle Mam. A familiar face from Ong-Bak and The Bodyguard, he provides what comic relief the film has. One reviewer noted that he “was pretty funny here previous films I have not always liked him but here he worked as comic relief” .

The Villains: Forgettable and Functional

The film’s antagonists Pom and his gang are functional rather than memorable. They exist to be defeated, not to be understood. One reviewer noted that the villain’s motivations “make pretty much no sense,” but acknowledged that “his bodyguards were good” .

Action Analysis: The Kicks That Could Have Been

The Choreography: Panna Rittikrai’s Mixed Bag

The action choreography in The Kick was handled by Panna Rittikrai, the legendary stunt coordinator behind Ong-Bak and The Protector . His signature approach practical stunts, minimal wirework, bone-crunching impacts had defined Thai action cinema for a decade.

But The Kick represents a departure. The film’s focus on taekwondo required a different aesthetic: more kicks, more spins, more aerial acrobatics. The results are mixed. Some sequences demonstrate genuine invention, using the environment and the performers’ athleticism to create memorable moments. Others feel soft, lacking the visceral impact that defined Rittikrai’s best work .

One reviewer noted that “the fighting felt lackluster and soft. No one seems to be able to hit hard none of it feels real. Like everyone is holding back in fear they will hurt the other actor” . Another was more generous, praising the “impressive physical abilities” of the cast while acknowledging that the choreography “ranges from ok to pretty inventive” .

The Hip-Hop Dance Fight: Love It or Hate It

The film’s most controversial sequence is the dance-infused fight in which Taeyang defeats a group of thugs using movements synced to the music from his phone. The sequence has become the film’s signature moment and its most divisive.

One reviewer called it “a huge embarrassment” and lamented that “this Korean actor’s acting is poor and his martial arts is little better” . Another acknowledged that “as much as I don’t like dancing, Tae-joo Na managed some really impressive jumps, spins and fighting in general” .

A third reviewer took a more measured view, noting that Taeyang “does a combination of taekwondo and hip-hop dancing, looking kind of similar to capoeira” and expressing interest in seeing the actor in more films .

The CGI Problem: Awful Crocodiles

One element of the film that drew near-universal criticism was its use of CGI. One reviewer noted that the film had “awful CGI crocodiles” that detracted from the otherwise practical action sequences . Another described a fight sequence set among crocodiles as a low point .

This reliance on CGI rather than the practical stunts that had defined Pinkaew’s earlier films was seen by many as a sign of declining ambition. When the film should have been pushing the boundaries of physical performance, it instead settled for digital shortcuts.

The Zoo Finale: Twenty Minutes of Mayhem

The film’s final action sequence set at a zoo and lasting approximately twenty minutes has been described as “actually fairly impressive” . The sequence features the family using their distinctive fighting styles against an army of thugs, with elephants, monkeys, and zoo infrastructure serving as props.

One reviewer noted that “there are some nifty bits in there one fight on top of some crates with fans revolving right above them and people getting clanged if they stand too high” . Another praised the “creative set-pieces” that made use of the environment .

But even here, the praise is qualified. The same reviewer noted that the zoo is “amazingly” empty of staff and customers, and that “the police only show up when it is finished” a touch of absurdism that some found charming and others found lazy .

Thematic Analysis: What The Kick Is Really About

Family Unity Through Adversity

At its core, The Kick is a film about family. The Muns begin the narrative fractured Taeyang wants to pursue music, Taemi is distracted by romance, the youngest child is just there. The crisis the kidnapping forces them to set aside their differences and work together.

This is familiar territory for martial arts films, which have long used family bonds as emotional stakes. But The Kick never fully commits to this theme. The family’s reconciliation feels rushed, and the individual arcs particularly Taeyang’s are resolved more through action than through character development.

The Clash of Cultures

As a Thai-Korean co-production, The Kick is inherently about cultural exchange. The Korean family lives in Thailand, practices a Korean martial art, and must navigate a foreign environment. The film’s villains are, notably, also Korean a choice that complicates the cultural politics.

But the film never fully explores these tensions. The cultural elements are present, but they function more as backdrop than as theme. One reviewer noted that the film’s cross-cultural identity made it “a bit of an oddball,” but the oddness is never examined .

The Individual vs. The Family

Taeyang’s arc his desire to pursue pop music rather than taekwondo touches on themes of individual identity versus family expectations. But the resolution, in which he embraces his martial arts skills while still pursuing music, is a compromise that satisfies neither side.

Comedy and Action: An Uneasy Balance

The film attempts to balance comedy and action in the tradition of Jackie Chan’s films a comparison that multiple reviewers noted . But as one reviewer pointed out, “the delivery of the comedy is poor,” and the tonal shifts often feel jarring rather than organic .

Pros: What the Film Gets Right

1. Impressive Physical Performances

The cast’s physical abilities are undeniable. Na Tae-joo, Kim Kyeong-suk, and JeeJa Yanin all demonstrate genuine martial arts skills, and their performances are the film’s most consistently enjoyable element .

2. Some Inventive Action Sequences

Despite its flaws, the film contains moments of genuine choreographic invention. The zoo finale, in particular, has been praised for its creativity .

3. JeeJa Yanin’s Brief but Memorable Appearance

When she is on screen, JeeJa Yanin delivers. Her performance reminds audiences of what made Chocolate so special, and one reviewer noted that “she’s as awesome as ever” .

4. Petchtai Wongkamlao’s Comic Relief

The Thai comedian brings his characteristic energy to the role of Uncle Mam, providing some of the film’s few genuine laughs .

5. A Family-Friendly Approach

For viewers seeking martial arts entertainment suitable for younger audiences, The Kick offers a PG-13 alternative to the R-rated brutality of Ong-Bak. One reviewer noted that it “is sort of a martial arts movie for the entire family, as it is not overly violent” .

6. The Taekwondo Showcase

For practitioners and fans of taekwondo, the film offers a showcase of the art’s distinctive kicking techniques. The emphasis on form and precision distinguishes it from the Muay Thai-focused films that dominated the genre in the 2000s.

7. A Brief Runtime

At 94 minutes, the film does not overstay its welcome. Its flaws are contained within a manageable timeframe .

Cons: Where the Film Stumbles

1. A Weak, Nonsensical Plot

The film’s most consistent criticism is its narrative. One reviewer called the plot “weak and makes almost no sense” . Another noted that the villain’s motivations “make pretty much no sense” . The story exists primarily to connect action sequences, and it shows.

2. Underutilized JeeJa Yanin

JeeJa Yanin appears only forty minutes into the film and is given limited screen time. One reviewer lamented that “they really should have focused the story on Yanin alone” . Another noted that “she really needs a film that can support her” .

3. The Hip-Hop Dance Fight

The film’s most controversial sequence has divided audiences. For some, it is an embarrassment; for others, merely misguided. But few have praised it as a highlight .

4. Awful CGI

The CGI crocodiles in particular drew criticism. One reviewer noted that “I could have done without all the CGI (in particular the awful CGI crocodiles)” . Another described the crocodile sequence as a low point .

5. Poor Comedy

The film’s attempts at humor often fall flat. One reviewer noted that “the delivery of the comedy is poor” . The tonal shifts between comedy and action are jarring rather than organic.

6. Underwhelming Action Impact

The fighting, while technically impressive, lacks the visceral impact of Pinkaew’s best work. One reviewer noted that “no one seems to be able to hit hard none of it feels real” .

7. Wooden Performances

The Korean leads, particularly Na Tae-joo, have been criticized for their acting. One reviewer noted that he “has the screen presence of a lump of butter” . Another called his performance “poor” .

8. The Terrible Music

The film’s soundtrack has been widely criticized. One reviewer described “the use of music is roundly terrible particularly a fight sequence where a character ‘dances’ his way through the villains” .

Critical Reception: A Consensus of Disappointment

The IMDb Score

The Kick holds a 5.5/10 rating on IMDb based on over 900 user ratings . This places it in the “mediocre” category a film that is neither loved nor hated, merely watched.

The User Review Consensus

User reviews reflect a consistent pattern: praise for the action sequences, criticism for everything else.

One reviewer, giving the film a qualified recommendation, wrote: “From the director of Ong-bak, The Protector and Chocolate comes this Thai/Korean co-production… The action is often awesome in this flick, though I could have done without all the CGI (in particular the awful CGI crocodiles)” .

Another reviewer was more critical: “Sadly, THE KICK is another Thai martial arts film that ends up disappointing rather than exhilarating… Even with ONG BAK director Prachya Pinkaew on board, and martial arts choreography from old timer Panna Rittikrai, THE KICK is an underwhelming film” .

A third reviewer struck a middle ground: “The Kick has a good variety of characters… However, it is the overall storyline that sort of drags the movie down and fails to stand out with a lasting impression” .

The Letterboxd Review

One of the more detailed reviews comes from BrianNaas on Letterboxd, who gave the film 2.5 stars. He noted that “it has some truly awful drama with a number of action set-pieces that range from ok to pretty inventive” and praised the physical talents of the cast while criticizing the lack of impact in the fighting .

The Disappointment of High Expectations

A recurring theme in the reviews is disappointment. The film’s pedigree Pinkaew directing, Rittikrai choreographing, Yanin appearing raised expectations that the film could not meet. As one reviewer put it: “A weak film then, but one that contains some great physical sequences so good in fact that they really deserve a film that is better than this one” .

The Verdict: Should You Watch It?

The Kick is a film that fails to live up to its potential. It has the right ingredients a talented director, a legendary action choreographer, a charismatic supporting cast but it never assembles them into something satisfying. The action sequences are often impressive, but the plot is weak, the comedy is poor, and the performances are inconsistent.

For viewers who prioritize martial arts choreography over narrative coherence, The Kick offers modest pleasures. The physical skills of Na Tae-joo, Kim Kyeong-suk, and JeeJa Yanin are genuine, and there are moments of choreographic invention that hint at what the film could have been.

For viewers who demand strong storytelling, character development, and tonal consistency, the film will likely disappoint. It is a film that exists in the shadow of its predecessors, borrowing from better movies without adding anything of its own.

For Whom Is This Film Recommended?

Fans of JeeJa Yanin who want to see her in action will find her brief appearance a highlight, though they may be frustrated by her limited screen time .

Taekwondo practitioners and enthusiasts will appreciate the showcase of the art’s distinctive kicking techniques. The emphasis on form and precision distinguishes it from Muay Thai-focused films.

Viewers who enjoy undemanding martial arts entertainment the kind that prioritizes action over story may find the film watchable. As one reviewer noted, “it is sort of a martial arts movie for the entire family, as it is not overly violent” .

Fans of Petchtai Wongkamlao’s comedy will appreciate his performance as Uncle Mam, which one reviewer called “pretty funny” .

For Whom Is This Film Not Recommended?

Viewers seeking the visceral impact of Ong-Bak or The Protector will be disappointed. The action, while technically impressive, lacks the bone-crunching intensity of Pinkaew’s earlier work .

Those who require strong plotting and character development should look elsewhere. The story has been called “weak and makes almost no sense” .

Fans of JeeJa Yanin hoping for a starring role will be frustrated by her limited screen time .

Viewers who find CGI crocodiles distracting should approach with caution. One reviewer noted the “awful CGI crocodiles” as a low point .

Ratings

Category Rating (out of 10)

Action Choreography 6.5

Physical Performances (Na, Kim, Yanin) 7.0

JeeJa Yanin’s Appearance 7.5

Plot/Narrative 3.5

Comedy 4.0

Visual Effects (CGI) 3.0

Korean Lead Performances 4.5

Thai Supporting Performances 6.5

Pacing 5.5

Entertainment Value (for action fans) 5.5

Overall 5.5

Final Thoughts

The Kick is a film that asks to be judged on a curve. It is not the worst martial arts film ever made its action sequences are too accomplished, its cast too talented, its pedigree too distinguished to earn that designation. But it is a film that consistently fails to meet the expectations its own elements create.

The tragedy of The Kick is that it had the potential to be something special. A film that combined the kicking techniques of Korean taekwondo with the raw physicality of Thai action cinema, directed by the man who had revolutionized the genre, choreographed by the legend who had trained Tony Jaa, starring the most talented female martial artist of her generation the ingredients were all there.

But somewhere between the script and the screen, the film lost its way. The decision to center the narrative on a Korean family, while commercially necessary for the co-production, meant that the film’s most charismatic performers JeeJa Yanin and Petchtai Wongkamlao were relegated to supporting roles. The insistence on family-friendly PG-13 violence meant that the action lacked the visceral impact of Ong-Bak or The Protector. The inclusion of CGI crocodiles rather than the practical stunts that had defined the genre felt like a betrayal of the very aesthetic that had made Thai action cinema famous.

For audiences who discovered Thai martial arts cinema through Ong-Bak or Chocolate, The Kick will feel like a step backward a film that has all the surface elements of the genre but none of the soul. For viewers who approach it without expectations, it may offer a modest diversion.

But for those who remember what Pinkaew and Rittikrai were capable of, The Kick is a reminder of how far they had fallen. It is a film that exists in the shadow of its predecessors, borrowing from their successes without understanding what made them work. It is, in the words of one reviewer, “a weak film, but one that contains some great physical sequences so good in fact that they really deserve a film that is better than this one” .

And that, perhaps, is the most damning criticism of all: the action sequences are good enough to make you wish the rest of the film was better.

Frequently Asked Questions

Is The Kick connected to Ong-Bak or Chocolate?

No. While it shares the same director (Prachya Pinkaew) and action choreographer (Panna Rittikrai), The Kick is a standalone film with no narrative connection to Pinkaew’s earlier work .

Why is JeeJa Yanin’s role so small?

The film was a Korean-Thai co-production centered on a Korean family. Yanin’s role as Wawa was always intended to be supporting .

What is a kris?

A kris is a type of Eastern dagger, often associated with Indonesian and Malaysian cultures. In the film, it is presented as a priceless Thai artifact .

Why does the film have a PG-13 rating?

The Kick was designed as family-friendly entertainment, with less graphic violence than Pinkaew’s earlier R-rated films .

Where can I watch The Kick?

The film received a limited theatrical release in 2011 and is available on DVD and various streaming platforms. It was never released in Region 1 (North America) .

How does The Kick compare to Pinkaew’s other films?

Most critics consider it inferior to Ong-Bak, The Protector, and Chocolate. It shares more in common with his later, less successful films .

What is the meaning of the Korean and Thai titles?

The Korean title 더 킥 (The Kick) is a direct transliteration. The Thai title วอนโดนเตะ!! roughly translates to “Wanna Get Kicked!” a playful reference to the film’s martial arts content .

Sources

1. Bob the Moo. “The Kick (2011) User Review.” IMDb. November 3, 2011. 

2. IMDb Staff. “The Kick (2011) ⭐ 5.5 | Action, Comedy, Drama.” IMDb. 

3. Wikipedia Contributors. “The Kick (film).” Wikipedia. 

4. BrianNaas. “A ★★½ review of The Kick (2011).” Letterboxd. 

5. Flicksmore Staff. “The Kick (2011) – Reviews and Information.” Flicksmore.com. 

This review was conducted in accordance with content policies and represents analysis based on available production information, critical reception, and audience reviews of The Kick (2011).