Scott Adkins is arguably the hardest working man in action cinema. If you’ve followed his career from the Undisputed sequels to John Wick: Chapter 4, you know he doesn't just "do" stunts; he lives them. But when he teamed up with director James Nunn for One Shot in 2021, they did something technically masochistic. They filmed a base-assault movie designed to look like one continuous, unbroken take. No hidden cuts behind pillars every ten seconds. Just raw, exhausting kinetic energy. Naturally, the fans wanted more, and the One More Shot movie arrived to prove that lightning—or in this case, a hail of bullets—can actually strike twice.
Honestly, it's rare for a sequel to keep the exact gimmick of its predecessor without feeling like a cheap retread. But One More Shot isn't just a repeat. It’s a massive escalation.
The Logistics of a "One Take" Nightmare
Making a movie look like a single shot is a logistical headache that would make most directors quit on day one. James Nunn didn't quit. He doubled down. While the first film was set in a relatively contained black-site prison, the One More Shot movie moves the chaos to a London airport. Think about the geometry of that for a second. You aren't just managing actors; you’re managing background extras, lighting rigs that have to be hidden in plain sight, and pyrotechnics that have to go off at the exact millisecond Adkins rounds a corner.
If a gun jams? You start the whole twenty-minute sequence over. If an extra trips? Start over.
The plot picks up right where we left off. Adkins returns as Jake Harris, a Navy SEAL tasked with escorting a high-value suspect, Amin Mansur, played by Waleed Elgadi. The stakes are predictably high—there's a dirty bomb threat at the State of the Union—but the plot is really just the skeleton that supports the muscle of the action. What makes this entry fascinating is how it uses the airport setting. It’s claustrophobic yet sprawling. You have luggage carousels becoming cover for gunfights and terminal seating transformed into a tactical playground.
Why Scott Adkins is the Secret Weapon
Let’s be real. Without Adkins, this movie doesn't work. Most "A-list" actors would need a stunt double for 90% of what happens here. Adkins does it himself. When you see him sweating, panting, and looking genuinely gaffed, it’s because he is. The One More Shot movie relies on his physical stamina to maintain the illusion of real-time stakes.
There is a specific sequence in the airport’s maintenance tunnels that stands out. It’s gritty. It’s messy. It’s not the polished, wire-work "superhero" fighting we see in Marvel movies. It’s tactical CQC (Close Quarters Combat). You see the influence of guys like Dan Inosanto or the Krav Maga experts the production likely consulted. It feels heavy.
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One thing people often get wrong about these films is thinking the "one shot" is just a trick. It’s not. It changes how you, the viewer, process tension. In a standard action flick, a quick cut to a different angle gives your brain a micro-second of rest. Here? No rest. You are stuck in the room with Harris. When he runs out of ammo, you feel that frantic search for a new mag.
Breaking Down the Cast and Conflict
While Adkins is the engine, the supporting cast actually brings some surprising weight to the One More Shot movie. Ray Stevenson, in one of his final roles, brings a massive presence as Robert Jackson. There’s a gravitas to Stevenson that balances out the high-octane pacing. His scenes with Adkins provide the necessary friction that moves the story beyond just "guy with gun runs through hallway."
- Jake Harris (Scott Adkins): More weary this time. He’s a man who has seen the cost of these missions.
- Amin Mansur (Waleed Elgadi): He’s not a cardboard cutout villain. There’s a layer of desperation and ambiguity to his character that keeps you guessing about his true motives.
- The Antagonists: They aren't just faceless goons; they move with tactical precision, making the threat feel legitimate.
The cinematography by Tim Maurice-Jones deserves a shout-out. Keeping a camera steady—but not too steady—while sprinting through an airport is a feat of athletic endurance in its own right. They used the Arri Alexa Mini LF for much of the production, which allows for that high-quality cinematic look while being light enough for a gimbal operator to carry for extended periods.
The Technical Reality vs. Movie Magic
Is it actually one shot? No. Of course not. Even 1917 and Birdman used "invisible cuts." In the One More Shot movie, these cuts usually happen during fast pans, entries into dark rooms, or when the camera passes behind a pillar. But knowing the "seams" are there doesn't take away from the achievement. It’s about the choreography.
Most films shoot about 2 to 3 minutes of usable footage a day. On a movie like this, you might spend twelve hours rehearsing a single sequence only to get one "perfect" take at the very end of the day. It’s high-stakes filmmaking. If the sun goes down before you get the shot, the lighting won't match, and the "unbroken" look is ruined.
What the One More Shot Movie Gets Right About Action
Most modern action movies are over-edited. You’ve seen it: the "shaky cam" that hides the fact that the actors can’t actually fight. The One More Shot movie is the antithesis of that. Because the camera has to stay on the performer, the performer has to be elite.
It’s about spatial awareness. In a typical movie, you see a guy in a room, then a cut to a guy in a hallway. You don't always "feel" the distance. In this film, you know exactly where the stairs are in relation to the exit because you walked there with the character. This creates a sense of "geography" that is sorely missing in the CGI-heavy blockbusters of 2026.
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Addressing the Critics
Some critics argue that the plot is thin. They’re not entirely wrong. If you’re looking for a deep, philosophical meditation on the nature of warfare, you might be in the wrong place. However, criticizing One More Shot for its simple plot is like criticizing a Ferrari for not having enough trunk space. That’s not what it’s for.
It’s an exercise in tension. The movie understands its lane and stays in it, floorboarded. It’s about the ticking clock. The "dirty bomb" trope is a bit tired, sure, but it serves the purpose of keeping the characters moving. The real "story" is the survival of Jake Harris and his ward.
A Legacy of "Gimmick" Cinema
We’ve seen a rise in these types of films. From Victoria (which was actually one take) to Extraction’s famous "oner" sequence. The One More Shot movie sits in a sweet spot. It has the grit of a 90s DTV (Direct-to-Video) classic but the technical sophistication of a modern prestige film.
It’s a testament to what can be done with a mid-range budget and a lot of passion. You don’t need 200 million dollars to wow an audience; you just need a lead actor who can kick through a door and a camera crew willing to run five miles a day with thirty pounds of gear.
Key Takeaways for Your Next Watch
If you're planning to sit down with the One More Shot movie, here’s how to get the most out of it:
- Watch the First One First: While you can follow the story without One Shot, the emotional weight of Harris’s journey carries over. You’ll appreciate his fatigue more.
- Look at the Background: Pay attention to the extras. The sheer amount of coordination required to keep a "busy airport" looking natural while a gunfight breaks out is staggering.
- Check Out the Sound Design: Since there are fewer cuts, the sound has to do a lot of the heavy lifting to tell you where the enemies are. Use a good pair of headphones or a soundbar.
- Notice the Transitions: Try to spot the "hidden" cuts. It’s a fun game for cinephiles. Look for moments where the screen goes dark or a large object blocks the frame.
Actionable Steps for Action Fans
If you're inspired by the technical craft of the One More Shot movie, here are a few ways to dive deeper into the genre:
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- Follow James Nunn on Social Media: He often shares behind-the-scenes "stunt-vis" (stunt visualization) tapes that show how they choreograph these massive sequences before the cameras even roll.
- Research CQC and Tactical Training: If the fight scenes looked "real" to you, it’s because they are based on actual military protocols. Look up "Center Axis Relock" shooting—you’ll see Adkins using variations of this throughout the film.
- Support Independent Action: Movies like this thrive on VOD and physical media sales. If we want more "real" action and fewer green screens, supporting these mid-budget gems is the only way to ensure they keep getting made.
The One More Shot movie isn't just a sequel; it’s a masterclass in independent action filmmaking. It proves that you don't need a multiverse to create a compelling world. Sometimes, all you need is a motivated soldier, a ticking clock, and a camera that refuses to blink. If you haven't seen it yet, clear ninety minutes of your schedule. You won't want to look away—mostly because the movie doesn't let you.
Next Steps for the Viewer: Check the credits for the stunt coordinators and look up their previous work; many of them worked on high-level productions like Skyfall or The Bourne Ultimatum. Also, look for the "making of" featurettes usually found on the Blu-ray or digital extras, as they provide a grueling look at the physical toll the production took on the crew and Scott Adkins himself.