Operação Invasão

The Raid, a new non-stop cornucopia action film, comes from the most unlikely of sources – Indonesia. But don't let the country of origin fool you. The Raid is jam packed with some of the best action sequences we've seen in years and audiences are sure to walk away with an adrenaline rush punch to the gut that far exceeds their forked (over) entertainment dollar.

Starring a bunch of actors we can guarantee you have never heard of and written and directed by Gareth Evans (another name you are surely not to recognize), The Raid offers big time action sequences chalked full of gunfights, knife fights and enough hand-to-hand combat to rival any movie in recent memory.

The idea behind The Raid is remedial. A group of well armed police officers enter a 15-story apartment complex overflowing with a group of better armed drug dealers and bad guys intent on holding their ground. The police are lead by an over anxious Lieutenant who leads his squad of mostly rookies into the apartment complex where they are quickly over matched and out gunned. Their objective is to find the drug lord who resides on the 15th floor and bring him to justice. Easier said than done.

Bodies on both sides of battle fall to the ground like rounds from a Gatling gun in an Arnold Schwarzenegger movie. The police – those that survived the opening shootout – are split into two groups with Jaka (Joe Taslim) fighting alongside the Lieutenant and a rookie officer, and Rama (Iko Uwais) who tries to protect an injured officer while battling the hordes of oncoming baddies.

What ensues over the course of the next 80-minutes is a rip-roarin' blast of gratuitous bloodletting. The gun battles are more intense than the bank robbery scene in Michael Mann's Heat, the apartment hallway battles make the scene in Oldboy look like a Pixar film and the cops are as overmatched as U.S. Army Rangers were against an entire Somalian town Black Hawk Down.

Director Gareth Evans clearly wants you to leave your brains at the door and celebrate in violent beatings and fight sequences that were stylishly choreographed and continue with such relentless regularity that you almost want to pause the projector to catch your breath before the next group of bare-fisted bruisers hit the screen. Our two main leads take more body blows than John McClane did in all four Die Hard films and their resilience and ability to be beaten to a pulp and yet have the ability and the strength to continue fighting is beyond this reviewer's comprehension.

If there was but one small issue we had with the film it was that everyone who lived in the apartment complex had the fighting skills of an UFC righter or karate expert. Young, small, big or tall, they hall knew how to deliver a multiple high-kicks or at least take one and get right back up for more.

There is a small twist in the film that is clearly evident a reel before the actual reveal on screen, but it hardly takes away from the fun filled excitement leading up to the plot turn.

The sum of all its parts makes The Raid a must-see for anyone appreciative of non-stop battles where machetes are luxury and where a broken fluorescent tube can send a packed theatre into jubilant applause. It may lack the sophistication of The Departed, but it catered to an audience that couldn't get enough by the half-way mark and then was left gasping for air like a prized fighter in the 12th round towards its conclusion.

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NOTE: Early, gushing reviews from TIFF Midnight Madness presentations should not generally be trusted, as many fest-goers are unable to separate the film from the experience, and formal critical consensus often sends most Midnight films into obscurity. Thankfully, THE RAID earns its stripes and deserves its praise, and stands firmly above the typically overeager reactions heaped on many other films screened in the Midnight program this year and in years past.

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In the future, when someone tells you a movie is wall-to-wall martial arts and gunplay, you should have no choice but to ask them how it rates against this picture, which has so much gunfire and brutal martial arts action -- all of it meticulously choreographed in ways more refreshing than I'd ever have thought possible in this world of peak-performance Donnie Yens and Tony Jaas -- that I very nearly lost the hearing in my right ear, in no small part thanks to the tendency of TIFF sluggos to mistake volume for quality when adjusting their sound levels in an aged, less-than--acoustically-ideal theatre.

Star Iko Uwais is the real deal: wiry, lightning-fast and evidently the leader of a team of experts that truly takes martial arts choreography into new territory with this film (and, to a lesser extent, MERENTAU before it). If there's a downside to his inevitable celebrity because of this film, it's that Indonesian cinema in general will fare no better than Thai cinema has in the wake of Tony Jaa. Like Jaa, anything Uwais makes from this film on -- especially if he keeps teaming with writer-director Gareth Evans, as he should for at least a couple more pictures -- will gain instant and welcome interest from the west, while the rest of Indonesian cinema (such as it is!) will remain the domain of low-brow entertainment that caters largely to the locals, with the exception of the occasional horror movie that can be scooped up for exploitation by "Asian Extreme" DVD labels and streams in the U.S. and Europe.

What really separates this picture from the hordes of martial arts films from the region is its heavy use of Silat, the native martial art of Indonesia. I've seen a billion martial arts pictures over the years, and a million "styles" to go with them, but I'll admit my knowledge of Silat was absolute zero, and this movie turned out to be a wonderful wakeup call.

The key thing about Silat is that it involves knives, lots of 'em, and the film's heroes and villains deploy them with extreme prejudice for almost the entire duration. One stab won't do, but ten capped off by a throat slashing is a good way to gauge whether you've won the battle.

By way of example, picture the exemplary alley-fight-with-sharp-weapons between Donnie Yen and Jackie Wu Jing in SPL (a personal favourite sequence). Now, double the speed (!), and make the ultimate goal to stab, slice or otherwise eviscerate your opponent into oblivion, and you've got most of the hand-to-hand combat in THE RAID. Hero cop Uwais has this neat little trick where he stabs a long blade deep into your upper thigh, then yanks it clean down to your kneecap. Ouch! This thing is bloody with a capital B, but it's so exceptionally well choreographed, photographed and edited that you never lose sight of the geography surrounding the combatants or feel like you've missed a single blow or puncture as each new pair (or group!) of fighters grinds each other down.

Evans' editing in particular is a standout, and rather refreshingly, it isn't used to hide little bits of phony business or make the fight participants look more skilled than they really are, such as it often is in so many action pictures these days (both in western, and, sadly, many Asian cinemas; Legend of the Fist, I'm looking at you). Evans' performers know their stuff, and his editing does more showing than telling.

As to the picture as a whole, if you thought the final 40 minutes of John Woo's HARD BOILED were collectively one of the greatest pieces of action cinema from anywhere ever, imagine that cinematic Nirvana expanded to feature length, and with virtually no fat. The movie starts with a team of elite cops attempting to covertly secure a maze-like high-rise slum apartment building run by a merciless drug lord (when we first meet him, he's executing five bound and gagged men in his office, but he runs out of bullets for the fifth guy, which causes him to casually grab a hammer out of his desk drawer . . . ). Within minutes, though, his goons -- who populate every floor of the building like cockroaches, fight like rabid dogs and spontaneously appear around every corner and out of every doorway -- turn the tables and wipe out most of the fleet in a monster battle of guns, fists, feet and the ubiquitous knives, trapping just a precious few of our heroes on the sixth and seventh floors with little hope of escape.

Aside from a couple of quiet moments where allegiances on both sides of the field shift, not unexpectedly, that's pretty much it in terms of plot, and it obvious the filmmakers would have it no other way. This is a showcase, for Silat, for Indonesia and for Iko Uwais, who is very much the "next Tony Jaa" (as I'm sure he'll be labeled far and wide), for better and, somewhat regrettably, for worse in terms of his country's film industry, for he may very well come to single-handedly represent it around the globe. Not that I'm complaining after having been winded by such an audacious effort as THE RAID.

Barry Prima who?

High Rating and Awards? People may be tricked for the first time because this movie comes from a very unusual country, Indonesia. It's not often we see action movie comes from this country. Furthermore, the casts also aren't well-known at all in the world but guess what, they're really giving a great show in this movie. Gareth Evans, a Welsh born writer/director/editor repeat his success creating action movie after several years ago releasing another action movie also made in Indonesia.

For me, the real superstar in this movie is Rama (Iko Uwais), who was introduced as a newbie special force in the team. Fantastic martial art movements, which is traditional martial art called Pencak Silat from Indonesia truly filled this movie with wowing watcher's experience. Fast moves, intense close combat and his knife play in combat successfully increased my adrenalin. The best part of Iko was when He's about to face several people alone in a hallway. That was obviously cool. I think Iko plays the part like Jason Statham (fighting) and Steven Seagal (with his knife) but only better. The Raid was rained with bloodbath. So it's wise to avoid bringing children to watch this movie.

The other character that stole my attention was this man called Mad Dog (Yayan Ruhian). In my opinion, it'll be difficult to find this kind of man in this world. His expression and fighting style was stunning.

When I watch movies, I always intensely wait for the twists. The Raid doesn't give so many twists but it still has enough twist that improve the story. Still this is a nicely written story. Simple idea but creatively developed.

At first, I thought it'll be a one man show where Rama played the whole part of fighting till the end. But I was wrong. The Raid gives fair proportion to fighters in this movie. Rama isn't the only one that showed a great fight against the enemy in this movie. There're the sarge, Andi, the last cop in control room. The only thing that disturbed me a little bit is the original dialog which is Indonesian. I don't know but it's kinda awkward for me to hear the conversation in Indonesian although it's my native language. As I imagine, it may sounds better in English. Never mind, it's just me.

With only 1.1 million spent on this action movie, surprisingly give me such a great experience in cinema. Great movie. Great job!

9/10

This is no doubt one of the greatest action movies I have ever seen. This is a violent movie with very little dialogue so know that before going in. The hand to hand fighting in this film is the best to ever be put on the big screen. This movie seriously blew me away. The one flaw would be that it doesn't have the greatest plot but it's enough to keep the action interesting. Please do yourself a favor and watch this movie! .............................................................. THE RAID: REDEMPTION QUOTES Let's clean this city's mess!

How does a guy from Wales go to Indonesia, hook up with Indonesia's top- notch martial arts experts, and make one of Asia's greatest action movies of all time for a mere $1.1 million? I don't know, but all the reviews here are true, this is 100 minutes of non-stop action and violence with spectacular fight scenes and impressive fight choreography and direction. Sure, there's very little character development, but that's because there's simply no time for it.

This is the type of movie "Max Payne" and "Hitman" wanted to be. Hollywood should scoop director Gareth Evans up immediately and let him helm its biggest big-budgeted action pictures!