20 Best Action Movies on Tubi Right Now

Who would’ve thought a wordless, black-and-white, slapstick comedy would still be hugely entertaining in this day and age? Hundreds of Beavers is created in the same spirit as the Charlie Chaplin and Buster Keaton comedies of yore, but it’s a tribute that manages to feel fresh, exciting, and unpredictable. The premise is simple: a man tries to survive the wilderness in the dead of winter by coming up with new ways to catch game. But the execution is wildly creative and nostalgic. You’ll feel like a kid again watching Saturday cartoons, in the best possible way.

Midnight Runners is a hilarious and action-packed buddy comedy that delivers both laughs and thrills in equal measure. The film follows two police cadets who find themselves embroiled in a dangerous conspiracy after witnessing a kidnapping. The chemistry between the two leads is electric, and their banter and antics provide some of the film’s funniest moments. However, it also has its share of intense and suspenseful scenes, as the cadets race against time to save the victim and uncover the truth. Midnight Runners is a highly entertaining and enjoyable film that will keep you on the edge of your seat.

Admittedly, The Man from Nowhere can feel a bit derivative. A quiet and mysterious stranger befriending a child, and ending up enacting his revenge when the child gets kidnapped… It feels like writer-director Lee Jeong-beom took two certain film plots and stitched it together into one. But where the film lacks in original story, The Man from Nowhere makes up for it with style, with high-contrast, rainy, moody scenes that linger into the mystery to make the few brutal, excellently choreographed action sequences pop. It has familiar tropes, and the backstory becomes a bit predictable because of it, but The Man from Nowhere keeps a steady pulse on the beating heart of the film– the friendship that makes these familiar tropes hold heavier emotional weight.

Don’t let the title and poster fool you—Riders of Justice isn’t the testosterone-filled action flick you’d expect going in (though it does get ridiculous at some points). It centers on deployed military man Markus, played by the appropriately masculine Mads Mikkelsen, who has to return home to his teenage daughter Mathilde after his wife dies in an accident. Instead of coping normally and sticking with his daughter to get through the tragedy, he goes down a rabbit hole discovering how the accident that killed his wife is more than just bad luck and may have been collateral damage from a gang orchestrating an assassination.

Surprisingly, director Anders Thomas Jensen injects this violent film with a lot of gentle moments about trauma and togetherness. Mikkelsen and the rest of the cast play off of each other very well, using dark humor to bring together a bunch of characters who are, in oversimplified terms, “fucked up but trying their best.”

It may seem like the guns, blood, and badass moments are a front for this film that, at its core, shows men who badly need therapy banding together to cope with the harshness of life. Extremely funny and deeply moving, it qualifies as a heartwarming Christmas movie, believe it or not.

The first in famed Korean director Park Chan-wook’s Vengeance trilogy (after cult films Oldboy and Lady Vengeance), Sympathy for Mr. Vengeance follows a Ryu (Shin Ha-kyun), a deaf-mute man who resorts to crime when his ailing sister is in need of a kidney transplant. He decides to kidnap the daughter of a wealthy man named Park Dong-jin (Parasite’s Song Kang-ho) for ransom, but he underestimates how, like him, Dong-jin will stop at nothing to save a loved one. Thanks to its rich characterization, dazzling editing, and fearless experimentation, Sympathy for Mr Vengeance makes for a thrilling (if violent) watch, one that will hit you hard and leave your mouth agape by the end. Here, you’ll see traces of the head-turning twists that will come to define Park’s stunning filmography, which apart from Oldboy includes the much-celebrated The Handmaiden and Decision to Leave.

It’s not so easy to get rid of an evil ruler. Sometimes, you have to resort to not one, not two, not even three assassins– you have to get thirteen of them. Remaking the 1963 jidaigeki film, which in turn is based on a real life feudal lord, Takashi Miike’s take brings his signature style to the samurai genre, wielding the sword slashing without any restraint, letting loose after building up the indignation garnered from the daimyo’s injustices and the careful planning the group had to make in response. Undoubtedly inspired by Akira Kurosawa’s Seven Samurai, 13 Assassins reintroduces the samurai genre to spectacular heights.

At first glance, Drug War is basically just what it says on the tin– cops crack down on kingpins, lords, and lackeys to save regular people from illegal addictive substances. Even the drug lord-cop dynamic would be a familiar plotline for crime thriller fans. But through this familiar plotline, Hong Kong director Johnnie To takes his first mainland China production to subtly comment on the dynamics between his native region and the larger country, taking the contrast to craft simmering tension each time Choi Tin-ming lies to his allies to save his skin. It’s less action-packed than To’s usual, but the subtext and the shift in style makes Drug War a surprisingly dynamic take on the crime thriller scene.

Martial arts is awesome, comedy is awesome, but the idea of putting them together wasn’t really explored until the late 1970s, when a young Jackie Chan made his breakthrough. One of the films he starred in was The Drunken Master, where Chan’s mischievous character goes under the tutelege of the titular teacher to fight against his father’s assassin. It’s a funny film, one that presents a different, more playful side to a real-life master, but the hilarious, perfectly choreographed fights eventually formed the foundation for Chan’s action-packed slapstick style, and even moved the entire martial arts genre into a new direction. The Drunken Master hinted at the cinema that was to come.

The Western had its heyday in the 60s, but the decades have proven that there’s still stories from the deserts that we haven’t heard yet, and gems that twist the genre on its head. The Proposition is a unique Western, being from the East, in Australia where the Brits have started to form colonies. As the British Empire builds society, and the police start to enforce the King’s justice, writer Nick Cave and director John Hillcoat crafts a bloody tale, where promises between men are betrayed for the State, where vengeance can only be met through brutality, and where the line between civility and savagery is drawn and moved by the will of an angry majority. The Proposition is quite violent, but it’s performed well, scored by a moody, moving soundtrack, and it surprisingly contemplates Australia’s bloody past.

While best known for his Western work, including directing the second Mission Impossible, John Woo made his start in China, returning more than a decade later to film this historical war epic. Based on the Battle of the Red Cliffs, the film may not be 100% factual, but Woo is clearly more at home here, taking his signature action choreography on a much larger scale. The production design, the costumes, the score, and the visuals are all dialled up to eleven, and the cast, including the iconic Tony Leung Chiu-wai, matches this intensity with stellar performances. Red Cliff is John Woo’s triumphant return back to his home country, taking his Hollywood experience to push Chinese cinema even further.