While not having world-ending stakes or large-scale operations, Sixty Minutes just works as an action movie. Sure, the plot is familiar and a little far fetched, but the film maximizes the potential of its premise, with excellently choreographed fight sequences working in tandem with the cinematography to reflect the MMA fighter leading the movie. Each moment isn’t wasted, with the action escalating each time Octa finds out about the hidden information kept from him about the match he’s planned to skip, and the film easily keeps track of his journey through neon-lit stopwatch faces and maps. And when we (and Octa) feel tired from all the fighting, the film ends right on time after sixty (and twenty nine) minutes.

Choreography, of course. The action is amazing and looks hardcore, but it’s because the choreography had to look like the moves of mixed martial artists. They don’t overly rely on the guns, weapons, or superpowers that we’re used to seeing on-screen, and it helps that it’s matched with the direction meant to mirror Octa’s perspective.