Film Review: Unseen Enemy (2025) - Australia
Reviewed by Andrew Chan (Film Critic Circle of Australia)
I rated it 7/10
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There’s a palpable sense of muscle memory in “Unseen Enemy," a gritty Sydney-set actioner that feels less like a modern film and more like a well-worn Hong Kong cinema VHS tape discovered in the back of a video store, its spine cracked, its promise of visceral thrills still potent. Directors Salvatore Samperi and Mathew John Pearson haven't just made an action movie; they've crafted a defiant love letter to a time when the hero’s knuckles bled on screen, not just in the edit bay. It earns its marks not for narrative innovation, but for delivering on the primal, bone-crunching contract of classic action cinema with exhilarating sincerity.
The plot is the sturdy, well-oiled chassis upon which this engine roars: Levi (Samperi), a private investigator nursing old wounds, is dragged back into the fray when his friend’s sister, Suzy, vanishes into Sydney’s shadowy underbelly. His quest for redemption leads him inevitably to Siroos (Artom Simin), a gang lieutenant whose sleaze oozes from every pore, a worthy antagonist whose menace feels genuinely physical. It’s a well-trodden path of vengeance and rescue, familiar as the outline of a fist against a jawline.
But where "Unseen Enemy" truly detonates is in its Hong Kong style action design. This is where the film transcends its modest budget and narrative familiarity. In an era choked by the pixel dust of CGI overload and the disorienting nausea of "shaky-cam," Samperi, Pearson, and their crack team of choreographers (Samperi himself alongside Artom Simin and Michael Jupp) perform a minor miracle. They remember the fundamental truth: action is spectacle best served visible. They embrace wide shots that let the geography breathe. They stage intricate, punishing fight sequences – described aptly in the notes as a "kinetic wonder" – in extended takes or "oners" that showcase not just the impact, but the terrifying skill and athleticism required.
The choreography, a brutal ballet blending Silat, Taekwondo, Brazilian Jiu-Jitsu, and Kickboxing, possesses a weight and clarity reminiscent of Hong Kong cinema’s golden age. Every blocked strike, every landed blow, every desperate scramble carries consequence. This authenticity is supercharged by the crucial fact: the actors, seasoned martial artists, do the damn work themselves. Samperi’s Levi isn’t just a hero; he’s a vessel for genuine physical prowess. He brings a grounded humbleness to the role, a quiet vulnerability that makes his explosive eruptions of violence feel earned, not gratuitous. Simin’s Siroos is all reptilian menace, a perfect physical foil.
The film embraces its "modern Ozploitation" mantle with relish. It’s grimy, often brutal, yet punctuated by moments of laconic Aussie humor and an undeniable, old-school charm. It understands the simple pleasure of seeing a good man fight very bad men in very direct ways. Yes, the script occasionally feels "tightly stretched," thinner than the leather on Levi’s gloves. Some of the low-budget VFX, particularly during gunplay, can momentarily shatter the meticulously built practical illusion, landing with a distinct digital jank.
But these flaws are, ultimately, like scuffs on well-used boots. They testify to the film's scrappy nature. "Unseen Enemy" succeeds precisely where it needs to for its intended audience: in the ring, on the street, in the close-quarters chaos of its meticulously staged brawls. It’s an adrenaline shot to the heart of action cinema, proving that passion, practical skill, and a reverence for the tangible impact of a well-thrown punch can trump a nine-figure budget. If your cinematic diet craves the clarity, the "dirty" brawling intensity, and the sheer physical audacity of the best 80s and 90s action, then "Unseen Enemy" isn't just a recommendation; it feels like a homecoming. You can practically smell the sweat and liniment. (Neo, 2025)