The 7 best action movies on HBO Max: classics and new features that will keep you hooked from start to finish

Furiosa: A Mad Max Saga (2024), by George Miller

It’s not the end of the world yet, but the electricity grid has collapsed, money is only devaluing, cities are burning, pestilences and pandemics are raging, the heat is unrelenting, there’s a lack of water, gangs sweep the planet like locusts, the land doesn’t bear fruit, people are poisoned, everything dies. Humanity is out of control, it needs someone who embodies bravery and transformative anger and behold, a girl is born capable of facing the cruelties of the world, as the Man in the Story asks. “Furiosa: A Mad Max Saga”, one of the most sophisticated prequels in cinema, entertains without compromising on philosophy, an attribute that can be observed throughout the revealing 148 minutes of screening. George Miller divides the fifth film in the series into chapters, one more thought-provoking than the other, and unravels the same old plot of chaos, dryness, atavistic hatred, nature begging for help and men increasingly maddened, which takes the viewer back to 1979, when Miller enchanted the public with his anarchic dystopia full of predictions that we still insist on not seeing. The director and his co-writer Nick Lathouris use all the elements that the scenario offers them, as if they were composing a gigantic, living mosaic in which the characters enter as the last pieces. Hermetic for many people, “Furiosa: A Mad Max Saga” is another of cinema’s warning cries about our increasingly palpable finitude, based on inconsequential and unexplained self-predatory behavior. And, of course, it’s fun too.

The Protector (2014), by Antoine Fuqua

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In “The Protector”, Antoine Fuqua presents Robert McCall, played with intensity by Denzel Washington, a seemingly ordinary man who hides a dark past. Working in a hardware store, he leads a peaceful life, but reveals his deadly skills when he becomes involved with Teri, a young woman exploited by the Russian mafia. The film builds an atmosphere of increasing tension, balancing silence and explosions of violence. Fuqua adopts a rhythmic rhythm, showing McCall as a meticulous vigilante, calculating each action before attacking. This detail transforms simple scenes into moments of engaging suspense. Washington delivers a magnetic performance, combining serenity and brutality, making McCall a complex hero, who inspires empathy even in his most extreme acts. The dark photography and soundtrack reinforce the dark atmosphere, bringing the narrative closer to a modern neonoir. However, the plot lacks predictability, following the classic “punisher against organized crime” playbook. The villains lack depth, functioning more as obstacles than striking antagonists. Despite this, the clash against the mafia maintains tension. Overall, The Protector is an efficient action thriller, which stands out more for Washington’s interpretative strength and Fuqua’s stylized direction than for the originality of its narrative. A work that, even though it doesn’t reinvent the genre, guarantees impact and emotional density.

Inception (2010), by Christopher Nolan

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By combining action, suspense and science fiction in a cerebral plot, Christopher Nolan has “Inception” as one of his most daring films. The film follows Dom Cobb (Leonardo DiCaprio), an expert in extracting secrets from the unconscious during dreams. Nolan builds a complex universe, in which time and space are shaped according to the human mind. The narrative, marked by layers of dreams within dreams, challenges the viewer to follow every detail. The script dares to mix philosophical concepts with the language of action cinema, creating impressive visual scenes, such as the fight in zero gravity. Hans Zimmer’s soundtrack intensifies the tension, reinforcing the epic character of the work. The cast, which includes Joseph Gordon-Levitt, Ellen Page and Marion Cotillard, supports the dramatic density of the story well. However, some critics point out an excess of technical explanations, which can make the film expository. Despite this, Nolan maintains a balance between visual spectacle and existential reflection. The final question, left by the spinning top, is the synthesis of the work: to what extent do we distinguish between reality and illusion? “Inception” is a cinematic puzzle that instigates, excites and remains open in the public’s mind.

The Heist (2001), by David Mamet

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“The Assault” is a thriller that mixes elements of a classic crime film with the filmmaker’s signature style: agile dialogues, psychological tension and ambiguous characters. The plot follows Joe Moore, an experienced thief who, after a poorly executed scam, sees his retirement threatened by blackmail and betrayal. David Mamet builds a narrative based on the game of trust and the fragility of loyalties, transforming crime into a metaphor for human relationships. The cast is one of the strong points. As Moore, Gene Hackman (1930-2025) delivers mature work, while Danny DeVito adds cynicism to the role of a manipulative gangster. The direction focuses on visual simplicity, but favors rhythm and increasing tension. There is no room for glamour, only for the cold pragmatism of criminal professionals. The sober photography and restrained editing reinforce the realistic atmosphere, in contrast to more spectacular productions of the genre. Still, some critics consider the script too tied to Mamet’s verbal style, which can sound artificial. Despite this, the film maintains its impact by exploring the idea that, in the criminal underworld, cunning can always be overcome by an even greater one. “The Assault” is an exercise in style, more cerebral than visceral, which confirms Mamet as a master of dialogue and dramatic manipulation.

Absolute Power (1997), by Clint Eastwood

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Directed and starring Clint Eastwood, “Absolute Power” is a political thriller that mixes suspense and moral drama. The plot follows an experienced safe thief who, upon witnessing a murder directly linked to the White House, finds himself torn between saving his own life and exposing the truth. The film deals with the tension between crime, power and corruption, exploring the dark behind-the-scenes of American politics. Eastwood builds his character with nuances of weariness and cunning, an antihero who gains strength through ambiguity. Gene Hackman, as the president involved in the crime, offers an intense performance, revealing the coldness of absolute power. The narrative, although slow at times, keeps the viewer intrigued by the constant risk of silencing the truth. The direction relies on dry dialogue and a dark atmosphere, characteristic of Eastwood’s style. The script, adapted from the book by David Baldacci, simplifies some issues, but emphasizes the clash between morality and survival. The film criticizes the impunity of elites, but also exposes the fragility of democratic institutions. The suspense grows with the incessant pursuit of the protagonist. Although it is not the pinnacle of the genre, it delivers a sharp commentary on power and corruption. It’s a solid work, with a classic rhythm and outstanding performances.

Cobra (1986), by George P. Cosmatos (1941-2005)

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Released in 1986, “Cobra” is a typical example of 80s action cinema, starring and written by Sylvester Stallone. The film features Lieutenant Marion Cobretti, aka Cobra, a tough police officer who challenges a violent criminal sect in Los Angeles. The narrative is direct, prioritizing chase scenes, shootouts and physical confrontations, while dramatic development is kept to a minimum. Visually, the film relies on a dark atmosphere, marked by neon lights, smoke and stylized framing, transforming the protagonist into a visual icon: dark glasses, matches on his lips and catchy phrases. This aesthetic makes it cult for action fans, but it also highlights its narrative superficiality. Ideologically, Cobra embodies a typical reactionary discourse of the time: the conventional police are inefficient and justice can only be served through the violence of the lone hero. Played by Brian Thompson, the villain is more caricatural than complex, reinforcing a Manichaeism that reduces the conflict to the old clash of good versus evil. Despite the criticism, the film has an intense rhythm, iconic scenes and a raw energy that still pleases admirers of the genre. “Cobra” is a kitsch portrait of the 1980s, limited in depth and discourse, but fascinating in its aesthetics.

Magnum 44 (1973), de Ted Post (1918-2013)

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“Magnum” 44 is the second film in the saga of police officer Harry Callahan, played by Clint Eastwood. Here, the plot revolves around a group of vigilantes within the police who decide to execute criminals without trial, leading the character to confront not only crime, but also institutional corruption. The work stands out for its moral dilemma: how far does the law go when justice seems to fail? Eastwood reaffirms Callahan’s tough and ironic profile, making him an icon of crime cinema. The direction by Ted Post (1918-2013) is less stylized than that of Don Siegel (1912-1991), but invests in tension and urban realism. The film also features memorable action scenes, especially the armed duels that highlight the magnificence of the 44 caliber Magnum. Social criticism is evident, discussing violence, abuse of power and vigilantism. Despite this, some critics point out that the narrative romanticizes excessive police brutality. Technically, the film balances rhythm and suspense, keeping the viewer’s attention. Lalo Schifrin’s soundtrack reinforces the dark and oppressive atmosphere. “Magnum 44” is a thriller that excites by mixing entertainment and provocation, and which remains current in its debate about security and justice.