Uwais plays a young man who washes ashore, an amnesiac with a serious head injury whose past comes back to haunt him shortly after being nursed back to health by a young doctor. Violence ensues. Sweet, sweet violence.
During the Japanese invasion of 1937, when a wealthy martial artist is forced to leave his home and work to support his family, he reluctantly agrees to train others in the art of Wing Chun for self-defense.
A young fighter named Kham must go to Australia to retrieve his stolen elephant. With the help of a Thai-born Australian detective, Kham must take on all comers, including a gang led by an evil woman and her two deadly bodyguards.
He thought it was over. After fighting his way out of a building filled with gangsters and madmen - a fight that left the bodies of police and gangsters alike piled in the halls - rookie Jakarta cop Rama thought it was done and he could resume a normal life. He couldn't have been more wrong. Formidable though they may have been, Rama's opponents in that fateful building were nothing more than small fish swimming in a pond much larger than he ever dreamed possible. And his triumph over the small fry has attracted the attention of the predators farther up the food chain. His family at risk, Rama has only one choice to protect his infant son and wife: He must go undercover to enter the criminal underworld himself and climb through the hierarchy of competing forces until it leads him to the corrupt politicians and police pulling the strings at the top of the heap. And so Rama begins a new odyssey of violence, a journey that will force him to set aside his own life and history and take on ...Written by
Sony Pictures Classics
The Yuda codename that Rama uses in prison is a the same name of his character in Merantau. See more »
During a shootout, Topan crawls to his safe to retrieve a gun. He hurriedly dials in a combination, grabs the door's handle, and then pulls the safe open without first turning the handle.
That can only mean that the safe wasn't actually locked in the first place. Dialing in the right combination allows the handle to be rotated. It's only through turning the handle do the bolts move to lock or unlock the door. See more »
((From: http://thinmanmoviereviews.wordpress.com/)) In 2011, Welsh director Gareth Evans gave us "The Raid: Redemption" – one of the best pure action films of the last decade – and hinted at his potential to be a new and exciting presence in the writer/director realm. The action was hard-hitting, lightning fast, supporting a simple, contained story of one man fighting against an entire tower of enemies in a way that was reminiscent of classics like "Die Hard". Well, if "The Raid" was one of the best action films of the last ten years, Evans' follow-up film "The Raid 2″ has now set the standard for the next twenty. In fact, I'm going to make a bold statement that you can feel free to quote me on:
"The Raid 2″ is the best action movie ever made.
Where sequels are concerned, this film does absolutely everything right. It takes the frenetic energy of the original, contained within the twenty-story drug den in which it took place, and lets it loose across the urban sprawl of an entire city teeming with warring crime syndicates, corrupt police officers, and the civilians often caught in the crossfire. No longer contained to just one address, the fight scenes in "Raid 2″ cover car chases, cramped subway trains, muddy prison yards, night clubs, and city streets, and every action set piece hits all the right notes. Every punch thrown and bullet fired is made even more effective by the fact that all of the action is done practically. In an era where so much of the action that we see on screen is dominated by the CGI-centric explosion extravaganzas of Michael Bay and the like it's incredibly refreshing to see highly trained stunt professionals being pushed to their limits to deliver a collection of the best action scenes in modern memory. Much of this work is shouldered by the film's lead, Indonesian-born Iko Uwais, the returning star of the first "Raid". Uwais is reminiscent of a younger Jet Li or – dare I say it – Bruce Lee; moving with such self-assured speed and practiced precision that every move deserves multiple looks to take in all the details. The comparison to Lee is bolstered by "The Raid 2″'s finale, which plays out like the final gatecrashing act of "Game of Death", in which our hero has to slug his way through opponents of increasing lethality. Unlike "Game of Death", "The Raid 2″ lets us see our villains in action almost as often as our hero, and it's a credit to Evans as writer/director that each of these characters is absolutely dripping with charisma and cool. There are no wasted characters here; we love every hero and love to hate every villain.
The script is, with few exceptions, always on-point. What could have simply been a straight-forward action flick with minimal plot to carry us from one action set-piece to another is instead a mad whirlwind of conspiracy, murder, and double and triple-crosses, steadily ratcheting up the tension to the film's explosive conclusion. From a technical standpoint, the impressive cinematography matches the action stride-for- stride and, looking back, there are a dizzying number of wildly choreographed long-takes that put every nuance of the environment, characters, and action on display. Combine this with a pulse-pounding soundtrack and some absolutely superb practical makeup effects accompanying every injury, no matter how small, and "The Raid 2″ is the complete package. With a third film already in the works, making this a trilogy, Hollywood has been put on notice: Gareth Evans has arrived; he's just dramatically changed the landscape of action films and shows no signs of pulling any punches. [10/10]
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