Have we arrived at the pinnacle of video game movies? Financially, it seems so; films like A Minecraft Movie and The Super Mario Bros. Movie have become major hits among family audiences, while the Sonic the Hedgehog series has averaged higher earnings than the John Wick films. What’s more intriguing is the increasing quality of reviews for these movies. Even a relatively minor adaptation like this weekend’s Until Dawn is receiving kinder critiques compared to many adaptations from the 2000s. Back then, films like the 2005 version of Doom were considered outright failures, though fans of the Resident Evil series have come to appreciate their concealed charm. So, are there overlooked movies from the era of poorly received game adaptations that are better than we remember? Absolutely! One such film is D.O.A.: Dead or Alive, based on a fighting game, which stands out alongside the 1995 Mortal Kombat as delightfully entertaining post-Nintendo action flicks. Since its limited release in 2007 resulted in box office failure, many might not have seen it, but now it’s available for streaming at no cost (with ads) on platforms like Pluto, Fandango at Home, Prime Video, and some lesser-known ones for viewing today!

The theatrical failure of D.O.A. is understandable. It promised what you might find in an issue of Maxim—something once less expensive than a movie ticket and more permanent. Though D.O.A.: Dead or Alive features conspicuously bold depictions appealing to the male gaze—Christie (Holly Allen) fights in a towel, Tina (Jaime Pressley) often appears in a bikini, and Kasumi (Devon Aoki) is a ninja princess without much of a ninja-like outfit—the film manages not to feel sleazy. None of the female leads are truly objectified; even with their revealing attire, the presentation is tamer than many music videos from the same period, and they all engage in combat vigorously.

The strength of D.O.A. lies in its direction by the late Corey Yuen, a renowned Hong Kong director and action choreographer known for his work with Jet Li and contributions to American action films in the 2000s. His extensive work on 2002’s The Transporter earned him a co-director credit, while D.O.A. stands as his final solo directorial project. (Sadly, his passing during the pandemic went mostly unreported until recently.) He left behind a peculiar, entertaining masterpiece; D.O.A. approaches a relentless action spectacle. The protagonists Christie, Tina, and Kasumi are drawn to an island for a fighting tournament, engaging in combat before, during, and beyond the main event while uncovering mysterious plots along the way. (Eric Roberts is involved; you can infer the rest.)

These fights are not realistic. They combine traditional stunt work, wire work, and obvious computer effects. But Yuen knows how to use these tools together to fake it with style. That style is basically if the gals from McG’s Charlie’s Angels movies were somehow transported into a Zhang Yimou movie like Hero or House of Flying Daggers. Colors are bright, scarves are flowing, ninjas are plentiful, women are constantly leaping into the air and balancing themselves on swords – stuff like that. There is almost no dramatic tension, and the acting could be charitably described as charming.

Charm counts for a lot, though, and acting isn’t just the recitation of dialogue. Aoki and Pressley especially give impressive physical performances; even when their moves are impossible, they throw themselves into the illusion. As shameless as the movie can seem, there’s also a pure-cinema element to its T&A silliness. And look: How often does a video game movie actually star three women, instead of sticking one in the fifth-lead slot? I’m not saying the bikini-heavy fighting movie with a volleyball break is Doing a Feminism, but it’s nice to dig up an artifact of mid-2000s culture that’s playfully problematic, rather than sneeringly so.

Jesse Hassenger (@rockmarooned) is a writer living in Brooklyn podcasting at www.sportsalcohol.com. He’s a regular contributor to The A.V. Club, Polygon, and The Week, among others.