Director: Gareth Evans
Cast: Iko Uwais, Ananda George, Ray Sahetapy
Running time: 101 minutes
Certificate: 18
Synopsis: When a SWAT team is trapped in a apartment block, they are at the mercy of a ruthless gangster and his army of villains…
This is a film that operates on a separate level from standard narrative movies; it’s not a story-driven dramatic exercise, nor is it an international expression of a country’s idiosyncratic approaches to film and the society that produces it. This is an action film, a feature length sustained assault on the senses that dares the viewer to bear witness to utter carnage in a closed environment. It doesn’t pretend to be much more than that, but what it manages to do is so very entertaining and well put together, that doesn’t matter at all. Gareth Evans capably proves that when it comes to flat-out action movies, he knows exactly what he is doing.
The film opens with a team of Indonesian SWAT police beginning the eponymous raid on an apartment building, and follows the police as they attempt to bring down the villainous Tama (Ray Sahetapy) and his criminal organisation. Protagonist Rama (Iko Uwais of Evans’s MERANTAU fame) is followed through this nightmarish assault that brings both the police and the bad guys to blows in a variety of set pieces and action sequences. It’s brutal from the outset, and the martial arts skills of the cast are showcased throughout in some of the finest combat moments ever put to film. It’s 2012; such a claim can’t be made lightly after all the films that have come before it. But it’s warranted.
When it comes to its approach to story, the film essentially functions like a video game. The difficulty ramps up, the goons keep coming, the blood flows freely, and ammunition is readily available at all times. It’s a whole lot of fun, as the film generally understands what it is, and doesn’t bog us down too much by such trivial matters as deep characterisation and story development; we are always on the right side of any conflict, and it’s a joy to root for our heroes as they sink further and further into what seems to be an impossibly difficult escape from the apartment block. In the spirit of Die Hard and countless other films inspired by it, the action is entirely contained within the block, with no cutaways or diversions to scenes outside of it. This keeps the plot focused, the characters consistently fresh (despite the lack of real depth, it’s impossible to forget just who everyone is, and what role they play in proceedings).
On the characters themselves, the film is driven by Rama, a virtuous but lethally efficient expert in the Indonesian martial art of Silat, and a member of a SWAT team led by both a hard-as-nails sergeant and a doubtful-yet-determined senior officer, with more than just a professional interest in the mission. Tama is a cold and calculating individual, with two main bodyguards (one of whom, Mad Dog – played by Yayan Ruhian – is a tightly wound ball of fighting fury that needs to be seen to be believed) who go to great lengths to protect their interests, mobilising an effective guerrilla insurgency that is more than a match for the specialist police forces raiding the apartment building. The ingenuity of both the raiders and the defenders (for the film feels more like a round of Defend and Conquer in a shoot-’em-up than any film that has come before it) means that every set piece is more breathtakingly awesome than the next. Everything in the building is utilised to devastating effect: Evans’s concept of setting and environment shines through again and again, as the building itself becomes a worthy character within the texture of the movie.
This is a technical film in every sense; great care and attention is given to each and every shot and sequence, with the carnage being delivered to the audience from every angle they could possibly want, without over-reliance on intrusive camera effects and obvious stunt doubles. Main combatants Uwais and Ruhian are in every frame of their respective battles (in a recent Q&A, Uwais laments the profuse brushing that has spread across his body as a result of the brutality seen onscreen), and each fighter in the film is clearly chosen for their martial arts prowess. It’s very reminiscent of Kung Fu films of the 1970s, which were clearly showcases for martial arts skill rather than intricate plotting or wonderful acting; at the same time, however, Evans is clever to update the formula to allow Uwais’s natural charisma to flow from his powerful presence, and to integrate the violence into his film with grace, rather than just letting it judder from moment to moment. It’s a cohesive whole, and benefits greatly from such an approach. It sounds as violent as it looks, too; by juxtaposing the bone-crunching menace of the fight scenes with eerie quiet moments as both sides regroup and strategise, the tendency to creep to the edge of your seat is palpable. Prepare to cheer and grimace with gusto as events play out. Whilst it’ll be a great lads’ night in film, this is something that needs to be seen on the big screen, as close to the front as possible. You’ll want to be physically blown away.
As a bastion of international cinema, THE RAID isn’t exactly the most idiosyncratic Indonesian film ever made; strip away the infrequent dialogue or dub it into English and its country of origin could be anywhere in the world (aside from the very local, very excellent use of the Silat fighting style). As a straight out, balls-to-the-wall action flick, however, it shows that international markets have, once again, raised the bar in what can be done with a camera, a capable director and some incredible physical talent. Absolutely see this film, with popcorn and friends; it’ll be one of the best cinema experiences you’ll have this year.
THE RAID is released in UK cinemas 18th May
