Jean-Claude Van Damme is the only dude that punches and flex. "Ah!" And you just looking at the muscle. You're not even looking at the move! Hi, my name is Uriah
Hall. I am a UFC fighter, and my background is boxing, kickboxing, Kyokushinkai karate. I know wrestling and jujitsu. Today we're going to be looking at mixed-martial-arts
scenes in movies and TVs and judging how real they really are. He's throwing wild
punches in the beginning. That's not really a smart thing to do. It leaves yourself open. Of course, the big guy
will just capitalize on it. If I'm fighting someone
that's bigger than me, movement is always going to be important, because for them to chase me, it's going to take them
out of their element. I recommend speed on a
person that's bigger than me. Any type of straight
technique down the pipe, because strait technique is
always going to be faster than round technique. Body shots will slow anybody down. I think of it like a tree. If I can chop him down at the root, then I can finish him up top. Commentator: He's fallen
deep into a guillotine. With the guillotine that I know, you can either get him in here, sometimes you can get the
person's neck underneath here and just kind of use your hips. It's more of a hip position. He had him against the octagon, so it's kind of hard to get your hips up as someone's pressing into you. So it leaves you to
focus more on your hands. So that looks like a
pretty realistic position. He's way too small to pull off that move. If someone has your neck here, that's the natural defense,
to kind of put your hand over. So naturally what you
have to do is go lower to let the person roll underneath you, but it's hard to pick the person up. So, the ground stuff looks pretty good. A little dramatic. If he's turning around
to get that arm bar, he's stepping around like that. That's too much space. That person could just
rip their arm out easily. Because in grappling, you
gotta stay tight, very close. You know, there's no, none of this. The thing that I notice a
lot with mixed martial arts or martial arts films, they want that big dramatic effect. "Oh, my God, this is happening!" So, that's a really good knee bar. I mean, it's very deep. He's got both legs around. He's got the person's
leg close to his head. That's perfect. It's dramatic how he's putting his hands all the way behind him. That's just taking way too much energy. All you gotta do is just close your hand and press your hip forward. I would definitely give
this a 8 out of 10. I think it's a great
introduction towards MMA and a great story as well. I love this. What he's doing right now, he's throwing that big right hand, and he's throwing that right hand as well. He slips under. That's one of the most coolest thing you can do to grab
someone, to submit them. The person's choking you
with their arm on one side, and you're choking yourself with your arm on one side right here. So if you get your arm here, that's going to close my
arteries a little bit. Right? And then no blood's going to go the brain, and then I'm going to pass out. That's totally accurate,
believe it or not. So, he has a triangle leg lock. And if he has the arm, he
would just have to kind of put it in the middle
and press his hips up, and then you'll have
an arm bar from there. Or if the person turns into you, you can transition to a triangle. But that is just great
control on the bottom. If I can get my legs around you like that, then I'm controlling you. So, a lot of people think if you're on top all the
time, you have an advantage. But if I can use my legs to pull you in and control you, push and pull, right? If I'm pushing your arm here, I'm pulling you in under your armpit. I'm pushing your hips away. I'm pulling you with my arm. And if I can get my legs
around your waist here, I can pull you in. Now, normally if someone's on top, you can strike. But from here, we notice that he has his leg locked. So now I have one arm free. I can't really do much. I can punch, but the person on the bottom is so far away, it's hard to hit them. This is textbook. This is perfect. If anyone double-legs you,
that's a natural defense. When someone grabs into your legs, their head is going to be exposed. Now, granted, when you do attack someone, your head should be up
a little bit, right? And that will make it a little harder. But even then, you're still at risk. So I think what Eren did right away, he just locked into guillotine
and locked the arm then, and you notice he locked his leg. So now it's even harder
for this guy to get out. I mean, this is just perfect. This blows me away. This is 10 out of 10. I need to watch this. I really love Jean-Claude Van Damme. He's definitely one of
the guys, if not the guy, to inspire me to kick. Because,
you know, I'm a kicker. I've knocked out guys with spinning kicks. I've learned other cool kicks. When I was 12, this was life. Round kick's one of my favorite kicks. That was pretty accurate. There are so many ways to do round kicks. If you're using the shin part of your leg, I would recommend it
to you to chop the leg or hit him in the body. You can hit him in the face
a little harder. Use shin. H--- no, this will never work. Nobody should ever stand there and get kicked with the same kick. Put your hands up, champ! In a real fight, I would definitely be throwing a lot of low kicks. As a fighter, I think more like a sniper. I'm the guy that waits, and
I look for that perfect shot, and I take it. And I'm
very precise with it. I contribute that to my karate background, because in karate, we
had to do tornado kicks and kick apples off each other's heads. So that's the type of
accuracy I had to have, and it helped me throughout
the rest of my career. Jean-Claude Van Damme is the only dude that punches and flex. "Ah!" And you just looking at the muscle. You're not even looking at the move! That's where I got that kick from. The spinning hook kick. So many ways to do this kick. What Jean-Claude Van
Damme just did right there is an extension of his leg. The further that leg is out, the more whip it's going to have, the stronger it's going to be. When I did this kick to
knock out my opponent on "The Ultimate Fighter,"
I chambered my leg. So I spun, but instead of extending
it, I kept it intact. Now, that was because of the distance, because if he's close and I extend my leg, it's going to create that off balance. But in that split of a second, you have to recognize that distance. Oh! Pew! I've been attempting that kick for years. Still haven't gotten it. You gotta be able to have
a good split to do that, because what happened is
when you extend that leg, you're using the other leg as momentum to generate that power. Not as realistic as it seemed, because it's so much
energy to generate that. Takes time to throw it, and in that time, that person could have a
defense mechanism to go, "I'm outta here." A lot of people don't train
this area on your leg. You know, it's that soft meat, your calf, or even right below your ankle. It's like hitting with a bat. So I absolutely think leg
kicks can win a fight. A great movie, but it's not even close. So I'ma give it a 5. Sorry, bro. Still love you. As you see, Keanu is just evading, and that's one of the key things too. If someone's either sporadic or wild or they're just throwing,
it's good to kind of evade. I was taught a long time ago, you can never fight with rage. It just blinds you. I've done it once in my
career, and it cost me, and I can say that plays a part in her just attack, attack, attack. There's the opening. And he blocked and defended it. He grabbed ahold of her
and gave her a judo throw. It's genius, where someone
keeps coming at you, you just use their momentum to throw them. Yeah, he's holding her back, but she could've easily
kicked him, throw some knees. She has her legs. She
wasn't really using that. There is no pause in a
real fight like that. I wouldn't be like, "You OK?" You know, you grab it, you break. But other than that, you know,
this was just phenomenal. Credit to Keanu for
doing all of his stunts. I would give it a 10 out of 10. There's definitely some
funny moments. [laughs] And as a dynamic striker, one of the key things I always look for is how to perfect your technique, and any type of swinging motions like this is usually an act of desperation or usually I'm out of my element. But we'll give it to him
because dramatic effect. Dirty boxing is more than that. It's not just punching. My head is in your face. I'm pushing you. It's uncomfortable. It's just so uncomfortable
that you just want it to stop. You can't breathe. You can't fight the way you want to fight. Very, very genius move, but if you don't know how
to get out of dirty boxing, then you fall victim. Commentator: Definitely
not a crowd favorite. When homeboy fell, no one just
falls and holds their legs. You fall in MMA longer for
more than two or three seconds, that is considered almost like a knockout. If I have a hurt leg, I'm not going to show you I have a hurt leg. I'm probably going to kick
you with that hurt leg. Because the moment my
opponent recognize that, he's going to exploit it. Granted, I think what this movie is, is some underground fighting. So there's no rule to apply. But in the real UFC, a ref will see that. Commentator: Big shot!
Epstein's in trouble. I love the jujitsu part on the floor. I love how they were just back and forth, because that's jujitsu.
You're back, you're forward, one move doesn't work, you go to the next. You create chain moves. From how they were doing transitions to one move to the next shows that they have an
idea of what's going on. I think he's turning into a
omoplata, another common move. It's so hard to get out of. It's one of those move where you're stuck, and if you don't really
know how to get out of it, you can get hurt. So, for me, I'm not the
best grappler in the world. So if I get there, I know how to get out and how to maneuver myself to
get back to my strong suits. What I would naturally
try to do is roll over. If you notice, the person is going to stop you automatically from rolling over. And this is just one of those position where it's a stalemate or it's like, all right, who's going to impose the will to either keep the person down or get out? Commentator: That shoulder! [shoulder cracking] I noticed he finished him at the end. I'm a strong person. If someone gets me in a omoplata, I don't see someone finishing me by pressing down so hard
it'll pull my shoulder out. I'm speaking for myself. I would give this a 9 out of 10. The jujitsu part here was
really well done, I think. Well, I'm a big fan of Michael Jai White. I actually learned a kick
from Michael Jai White. He has, what, seven black belts? So that guy's actually legit. So, fighting is like dancing,
and it's about rhythm. And right now these guys are
feeling each other's rhythm. Each opponent has the
counter for that move. He throws a technique,
he blocks, he hit back, he counters, he goes back. And it's just such a
beautiful piece to see. Like, this I love. To
me, this is fighting. This is getting in the zone. This won't last for long, of course, because eventually someone
will break their rhythm, whether it's fear, whether it's none of my stuff is working, whether it's this person's better than me, or whether them getting clipped. So, what we're seeing right now is him getting kind of a
cross choke from behind. If his body was more attached
to Michael Jai White, it would've been a little stronger, but his upper body's more here. So he's not latched on properly. So that helps Michael Jai White get out of that move a little easier. I love this whole, my hand is up, I kick you
low, and I come back high. I do it all the time. I don't do a back fist.
I'm more of do a jab, but this is Michael Jai
White we're talking about. Faking is one of my best traits to use as I'm competing, because it interrupts. I can create that opening.
And if I create that opening, then I can exploit my opponent's weakness. And once I get you to react, then I can counter you properly. Now, this is what fighting
should look like almost. Almost. I think that it's similar to what I do with the prettiness of
the art of fighting, the dynamic way of striking, but it is too crisp and pretty. There's not going to be too
many standing in one spot. There's going to be a lot
more movement involved in a real situation. You know, there's going to
be creating more openings, more grabbing the leg, a
little bit of dirty-boxing-ish to kind of create that
mixture of mixed martial arts. But it just looks too clean. The only way I can see
something like this working is because of the size difference. So, putting that leg up, that opponent is feeling
that weight distribution, and he just rolls. But it depends how you roll, though. And if you roll backwards, then you're rolling out of the move. So it's great for TV, but I wouldn't think a move like this would really work in real life. I would give this a 9 out of 10. It's right there, but it's just not that, it's not going to be
that pretty, pretty much. [laughing] Oh, my God. This is so awkward. Now I gotta judge myself?
Way to go, guys. Good job. Yeah. This was a cool scene, man. I got to work with one of the best, but I think from what
I've learned from acting is that a lot of times when you throw those punches that way, it's not just straight to your face. Depending on the camera angle, it's going to look very good for TV. But for the untrained
eye, it's like, "Wow!" But for the rest of the
OGs, it's like, "What?" Stance is everything. My stance is another line of my defense. You know, I might open enough where I can protect the
four vulnerable areas, such as my head, my neck, my solar plexus, and my groin. And it makes a straight line. That 45-degree angle
most of the time you see is protecting that. Right now we're kind of
feeling each other's rhythm. Yeah. I love this part right here. Well, not when I die, but. Oh! Went out like a G! I mean, you would have to be very accurate to kick someone like that, because your kicks are naturally
heavier than your arms. Plus my chin is a little
closer. It's protecting that. But for this scene, you know, he didn't kick me in the neck. We actually took his shoe
and someone put their fist and put it at my neck to
make it look like a kick. Movies, man. Movies. All right. I gotta keep
it real with myself. Again, it goes back to
that too clean, right? If it's going to be more scuffle, like the part where he grabbed me and I was throwing some knees, it's going to be a little
more realistic like that. I'm going to give myself a 9 out of 10. Using the environment in
close quarters like that, just tossing each other,
bouncing off of it, I feel like this is a real fight. When someone grabs your throat, what a lot of people don't realize is that you're stronger up here, but
as you go down, you're weaker. So your wrist is naturally weak. So anything that involves
me putting pressure on this will alleviate that pressure. Instinctively grabbing
something to hit that person, I feel that works very well. Using the place, using the curtains, using anything they can find. So I rate it 10 out of 10, because it's the closest
thing to a realistic fight on the street or in a house. Commentator: Jackie's got the timing down, now can she control right here? This, red flags. You don't want to turn away, of course. You turn away, you're giving up your back, and you get rear naked choked. Just like we saw from the other cartoon, you want your legs
wrapped around the person. So what I'm supposed to
do is push my hips back, bring my knee in, and then try to wrap my
leg around the person. But she has one knee up,
which means it's hard for the person's to cross over. So that's a natural defense. Commentator: Side control position, looking to get to the mount. Full mount. So, if you're in that position, you never want to step over. Remember what I said about
grappling being like this? If she steps over, that creates space. And if anyone sees that on the bottom, they're going to push
and get their leg wrap. You want to slide your knee
across their stomach, like this. So my knee's going to be crossing over to get the mount position. It's a lot easier for the person on top to cover the person on the bottom's mouth. The person on top have more
ways to move their head than the person on the bottom. But what I think she's trying
to do is posture her up. If I can push you away a little bit, then I can create space. But this is risky, because
the moment I do that, I set myself up for an arm bar. Commentator: She hops
on her back, standing. This rear naked is in! She has it. You get caught here, it's a finish. You go night-night. This is if not the hardest
thing to get out of. What happened is when you
put a rear naked choke in, think of it like a snake. You kind of snake around the neck. If I can get the crease
of this part of my arm right in the middle
here, then I'm locked in. What I like to do when I put this through, I grab my own shoulder like
this. Now I'm locked in. I think Halle did a great job. She snuck her arm in, and she got the other arm in like this. And all she had to do was squeeze, and basically cutting off the
blood circulation to the head. You know, I think Halle Berry did such a great job in performing this MMA. There was some small spatial stuff, but I don't think it's
too much of a big deal. I'm going to probably give it, like, 8 out of 10. I think my favorite scene
would be "Black Widow." If you take away the octagon and you take away all the rules and stuff, a real scuffle would be like that, where they're using
the entire environment. That is the closest thing that I've seen to anything being real from a mixed-martial-arts perspective. So "Black Widow." Thanks for watching. If
you enjoyed this video, I'm sure you'll like that one too.
