For enthusiasts of soccer hooligan films, the thematic territory might seem somewhat confined. It’s a niche sub-genre, yet one that holds a certain gritty appeal for its dedicated fanbase, myself included. Certain elements are practically mandatory: clashes between rival firms, a nod to the actual sport of soccer, and of course, the pubs serving as battlegrounds and headquarters for these groups. These are the established rules of engagement. Narratively, these films often explore familiar archetypes – the young, ambitious leader striving for dominance, or the veteran hooligan seeking an exit for a more conventional life. We often see characters leading double lives, balancing professional careers with weekend violence, and there’s almost always a heavy price to be paid, with serious injuries or even death lurking around the corner. While my knowledge of real-world hooliganism is purely cinematic, these tropes are the bedrock of the genre.
The prospect of Scott Adkins, a prominent figure in modern action cinema and arguably my personal favorite, joining the Green Street Hooligans franchise for its third installment, Green Street Hooligans: Underground, immediately piqued my interest. Adkins, a British actor often showcasing a convincing American accent, seemed ideally cast for a hooligan film. However, a slight apprehension lingered. Known for his exceptional martial arts prowess, how would director James Nunn, known for Tower Block, effectively integrate Adkins’s skills into the chaotic, messy brawls of drunken football firms? Would perfectly executed spin kicks realistically fit into a pub brawl scenario?
This is where the “underground” aspect of the title becomes a clever narrative device, providing an entertaining solution to this potential stylistic clash.
Green Street Underground adheres closely to the established formula of the genre, as previously outlined. Adkins portrays Danny, a former leader of the Green Street Elite (GSE) with a legendary reputation, who has supposedly left that life behind to establish his own gym. However, when his younger brother, attempting to follow in Danny’s footsteps, finds himself in deep trouble, Danny is compelled to return to the fold. Driven by the need to uncover the truth behind his brother’s demise and exact revenge, Danny re-enters the violent world he tried to escape. Ronnie Thompson’s screenplay ticks virtually every box on the hooligan movie checklist. The plot offers minimal surprises. Danny predictably gets the girl, solves his brother’s murder, delivers copious amounts of punishment, and reaffirms the GSE’s legendary status, despite his supposed departure from hooliganism. Danny’s inevitable rise to dominance is never in doubt. So, narrative innovation isn’t the film’s primary strength.
However, the film compensates with its visceral and engaging fight sequences. The film cleverly introduces a system of organized firm combat operating “underground.” To evade police scrutiny and cultivate a more palatable public image, London’s football firms have established structured, underground fighting rings. These are not random street brawls; they are organized 5-on-5 battles where firms compete for supremacy, and the violence is deliberately brutal. It’s not a spoiler to infer that Danny’s brother becomes a casualty of these underground fights gone wrong. Predictably, Adkins takes charge, whipping the GSE into shape, training them for combat in the underground arena to climb the ranks and simultaneously uncover the truth behind his brother’s death.
It’s not intellectually demanding cinema, but the inclusion of 5-on-5 underground fights effectively showcases what audiences expect from a Scott Adkins film. We get to witness his martial arts skills within the context of these brutal encounters. Adding to the action movie tropes, the film incorporates training montages, further amplifying the entertainment value for action fans.
While Green Street Underground might not be a career-defining film for Scott Adkins, it delivers considerable entertainment, particularly for viewers with a penchant for action. Action choreographer Joey Ansah, who also appears in the film, deserves credit for crafting fight sequences that blend Adkins’s signature flair with the raw, street-fighting style appropriate for football firm clashes.
A notable aspect of the film is its soundtrack, a deliberately anachronistic barrage of 80s synth music. While it might initially feel somewhat incongruous, it ultimately becomes a welcome and distinctive element, setting this film apart and injecting a sense of novelty. Composed by the duo “Bob and Barn,” Andrew Barnabas and Paul Arnold, known for their video game scores, make their feature film debut here. The effect is intentionally blatant and adds a unique flavor that enhances the overall viewing experience.
Green Street Hooligans: Underground is likely to resonate as a solid piece of entertainment for Scott Adkins devotees and a potentially exciting addition for fans of the Green Street Hooligans franchise. While I haven’t seen the second film, I imagine it explores similar thematic ground. The original Green Street Hooligans, directed by Lexi Alexander (Punisher: War Zone), served as my introduction to this subculture and offers a more dramatic and weighty narrative. I recommend checking out the original if this film sparks your interest in the genre.
The DVD Package
Unfortunately, Lionsgate opted for a DVD-only release, and the absence of a high-definition transfer is immediately apparent. Given the “Underground” title, one anticipates numerous dark scenes, and the black levels on this DVD transfer are disappointingly poor. Grey pixelation and clouding are distractingly noticeable in darker shots. Furthermore, the transfer occasionally exhibited moments of slowdown and speed-up, resembling a buffering internet video. It’s regrettable that a more professional, high-definition transfer wasn’t created, considering the established fanbase for Scott Adkins and the Green Street series. While profit margins for these releases might be tight, even a basic Blu-ray edition would have been appreciated by fans like myself.
The DVD includes only one behind-the-scenes featurette, but it’s an interesting anecdote that Adkins and director James Nunn agreed to collaborate over beers at Austin’s Fantastic Fest, where they were both presenting their action films, Universal Soldier: Day Of Reckoning and Tower Block.
The DVD package is basic, and the transfer quality is underwhelming. However, for US fans who have been waiting to see this film since its European release a couple of years prior, this DVD provides an opportunity to finally experience it. And I, for one, am pleased to have enjoyed another Scott Adkins action film.
And I’m Out.
