The Raid

An Alliance Films (in Canada) discharge of a PT Merantau Films/Abc Films/Celluloid Bad dreams presentation. (Worldwide sales: Celluloid Bad dreams, Paris/La.) Created by Ario Sagantoro. Executive producers, R. Maya Barack-Evans, Irwan D. Mussry, Nate Bolotin, Todd Brown. Directed, written, edited by Gareth Huw Evans.With: Iko Uwais, Joe Taslim. Doni Alamsyah, Yayan Ruhian, Pierre Gruno, Tegar Satrya, Ray Sahetapy.The ultimate credits roll, listing figures for example "Hole Drop Attacker" and "Machete Gang Member," only shows the amount of mayhem in Gareth Huw Evans' "The Raid." Indeed, moviegoers might want the projectionist could replay a few of the spectacular sequences within this incredible and extremely violent cop-versus.-gangster fight-athon, where a SWAT-like unit invades a 15-story building and needs to arrive at the top, floor by floor, to create lower the theif. Using the genre to some greater degree of intensity, the Welsh-born Evans continues what he began in the past Indonesia-set actioner "Merantau," but this pic will seal his cult status. As efficient since it's title signifies, "The Raid" provides a continuous sequence of action having a obvious and effective premise: If police can arrive at the top floor, there is a opportunity to bring lower major drug kingpin Tama (Ray Sahetapy). Further complicating matters is always that many cops within the unit are unskilled within the make of intense urban combat required here, which their corrupt boss, Lt. Wahyu (Pierre Gruno), may compromise the whole operation. That's about just as much plot because the movie can be involved with, or needs. Hard-ass cop Rama (Iko Uwais, "Merantau," inside a star-making role) is sparkling clean and tenacious like a bulldozer. In a few minutes of quietly penetrating the building's interior (the result strengthened by total silence on the soundtrack that otherwise provides huge punches of pure, sonic energy), Rama's males belong to assault by Tama's smartly placed models, including prepubescent spotters and endless supplies of dudes with heavy machine guns. Tama observes everything on the large bank of monitors in the control room, assisted by his callous henchmen Andi (Doni Alamsyah) and Mad Dog (Yayan Ruhian). Tama can also be in a position to deliver messages within the building's PA system, to ensure that everybody can hear his message, "We now have site visitors." It is the signal for those-out war. The ensuing 1 hour 30 minutes are largely a hands-to-hands, fist-to-face, feet-to-groin fight, having a couple of machetes and guns thrown in permanently measure. Pic handles to produce the feeling of the type of live-action ride, where Evans as conductor modulates the go up and down of action, and alternates pace and volume, with selected interludes of story to trap a person's breath. The result is exhilarating for audiences available to the sheer visceral sensation from the physical experience, no matter a person's predilection toward fight photos. Still, there's ample close-up, flesh-ripping violence to create even hardened audiences wince. The pic's combat style, silat, is definitely an Indonesian martial-arts form this is a more brawling type of fighting than more broadly known styles. Think about it as being the National football league overtaking kung fu, but a great deal nastier, using the action getting wilder the flooring -- and also the casualties in Rama's forces -- mount. It's not hard to your investment story altogether within the sheer hurry of Rama's fight up floor rather, audiences will question the way the amazing fight that simply ended may be capped. But it's, over and over. A five-minute fight that has flying, nipping areas of the body particularly shows the elegance within the fight choreography by Evans, Uwais and Ruhian. A lot more than most martial-arts photos, "The Raid" recalls the dwelling of the movie musical, where a simple story bridges the amounts and sequences. Ultimately, there's enough to among the pic's side tales (including siblings on opposite sides from the fight) that, drawn in tandem with righting the incorrect of political corruption, enables items to finish on the significantly satisfying note. Moti D. Setyanto's terrific production design represents the inside of the building like a perpetual maze, both up and down and flat. It isn't surprising the project required two lensers (Matt Flannery and Dimas Imam Subhono), because the camera frequently seems to ignore gravity inside a mission to obtain fresh angles about the fight. Technically, the pic's inside a league alone among Indonesian films. After this pic's first Toronto screening, producers introduced the soundtrack is going to be entirely modified by Mike Shinoda of Linkin Park. Although it will add an industrial kick towards the film, it will appear curious considering the brilliant soundtrack displayed in the screening examined.Camera (color), Matt Flannery, Dimas Imam Subhono music, Fajar Yuskemal, Aria Prayogi production designer, Moti D. Setyanto costume designer, Upay Maryani seem (Dolby Digital), Suhadi Yuskemal, Prayogi, Bonar Abraham, Sandika Widjaja seem designers, Yuskemal, Prayogi re-recording mixers, Yuskemal, Aria Prayogi, Abraham, Widjaja, Jack Arthur Simanjuntak effects makeup, Jerry Octavianus stunt planners, Yandi "Piranha" Sutisna, Eka "Piranha" Rahmadia, Esa W. Sie, Rama Ramadhan fighting techinques choreographers, Iko Uwais, Yayan Ruhian action choreographer, Evans line producer, Daiwanne P. Ralie assistant company directors, Dondy Adrian Senjaya, Mus Danang Danar Dono, Imam Dharmawan Santoso, Ginanti Rona Tembang Asri. Examined at Toronto Film Festival (Night time Madness), Sept. 8, 2011. (Also in Sitges, Pusan film festivals.) Running time: 101 MIN. Contact the range newsroom at news@variety.com

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