The Definitive Action Film of Our Time - THE RAID 2

THE RAID 2: BERENDAL
2014 - 150 minutes - Action/Crime
Director: Gareth Evans
Country: Indonesia 
IMDB: 8.9
Metacritic: 71
RT: 80

CinemaChagrin's Rating: B

Watch this movie if you enjoy:

• Incredible action sequences
• Martial arts films
• Gorgeous cinematography
• Ultra-violence
• The first film

Avoid this movie if you dislike:

• Extreme violence/gore
• Action films 
• Subtitled films
• Convoluted plots
• The first film

Ladies and gentlemen, look no further, for The Raid 2: Berendal is the definitive action film of our time. The sequel to 2011's international smash hit The Raid: Redemption, this Indonesian crime thriller has some of the most spectacular action sequences ever put to film. The first film is a taut and brilliant action flick in which an elite SWAT team storms a dingy apartment building to take down a ruthless drug lord. (Much violence and mayhem ensues, of course). It features absolutely mind-blowing and cringe-inducing fight sequences showcasing Indonesia's martial art, pencak silat. The Raid 2 ups the ante in nearly every way possible. Why it is by no means a perfect film, I was on the edge of my seat the whole time in the theater and could barely contain myself from yelling in excitement by the time the credits rolled around.

One of the film's most brutal sequences takes place in a muddy prison yard

Whereas the first film is a brisk 100 minutes and consists almost entirely of action sequences, The Raid 2 features a much expanded story arc and much more exposition. The story is not particularly original, and calls to mind other crime films like Infernal Affairs and The Departed. The dialogue is a little wordy at times, the plot occasionally convoluted, and the pacing awkward. There are a few scenes that drag a bit or feel unnecessary. I won't go into the story (as that's not really the point of the film), though I will note that the transition from the end of the first film to this sequel was done in a rather clunky manner. All of this makes the whole film feel a little rough around the edges, but ultimately I didn't end up minding too much. One doesn't go to a movie like this for a brilliant screenplay or original story. I came for the action, and wasn't disappointed. More on that later.

Rama (Iko Uwais) and The Assassin (Cecep Arif Rahman) face off in the film's climactic duel

Welsh-born director Gareth Evans exploded onto the international film scene with The Raid, demonstrating that few others can choreograph and shoot action sequences with the same level of mastery that he brings to the table. His camera moves fluidly as a part of the action, ducking and weaving through combatants and immersing the audience in the fight. Unnecessary shaky cam and obscuring closeups make no appearance; Evans' direction lets us see all the action, while also making us feel like we are a part of it. His excellence doesn't stop there though. A bigger budget (though still only a paltry $4.5 million) and longer film allows Evans to showcase some absolutely gorgeous visuals, from a rain-soaked prison complex to a snow-covered alleyway splattered in blood. He has a really unique eye, and I can honestly say I've never imagined some of the camera angles on display in The Raid 2. In a stroke of brilliance, one sequence where our hero Rama (Iko Uwais) fights four men in a moving car is partially seen from above. 

As you've probably guessed by now, the highlight of the film are the spectacular fight sequences. Since all of the baddies from the first film ended up dead by the its conclusion, we are introduced to a host of new antagonists, including two of the most memorable villains I've ever seen, a brother-sister duo named "Baseball Bat Man" and "Hammer Girl." (I'll let you use your intuition to figure out why they have those names.) As The Raid 2 focuses on two rival Jakarta crime syndicates, there are many other bad guys who come into play as well, such as local kingpin Bangun, his suave son Uco, and the ambitious and ruthless Bejo. Needless to say, there are a lot of characters (probably a few too many), and you probably won't remember everyone's name, but again, none of that really matters. 

Which finally leads me to the fight scenes. Never have I witnessed a film with such exhilarating and brutal action sequences. The film is a veritable symphony of death, an orgasmic cacophony of splattered blood and broken bones. The kills (and killers) are merciless, and Evans' camera lets us see it all in its full, unadulterated glory. Quite frankly I am flabbergasted as to how this film managed to avoid a NC-17 rating. It seriously makes Tarantino films look relatively tame. The only non-horror film I've seen that compares is Drive, which of course has none of the crazy martial arts present here. The choreography is lightning-fast and extraordinarily inventive, the set-pieces spectacular, and the blows completely visceral. The editing is also spot-on throughout the whole movie. One incredible fight scene between two characters took 12 days to shoot, but you would never know it with the way the sequence unfolds seamlessly. While the first film takes place entirely in dingy corridors and dirty apartments, the fight scenes in the second are much more varied. From a tiny restroom stall to a spotless white kitchen to the wide open streets of Jakarta, it's really fun to watch how the combatants adapt their fighting styles in acclimating to their surroundings.

There's even an excellent car chase!

The Raid 2 is made for a very specific audience. Those who love intense action and who don't shy away from blood and gore aplenty will find much to love. Anyone who doesn't fit this description probably should stay away (a shame though, as the cinematography is truly outstanding). The film's shortcomings in the story department, while noticeable, don't take away too much from the overall experience. It definitely drags at times (the pacing of the first film is much better), but the last 45 minutes of nonstop mayhem more than compensate for any weaknesses. Bottom line: there is really nothing else out there right now that compares to either of the Raid films action-wise. They have set the bar exceedingly high, and are hugely refreshing in today's era of sterilized, CGI-filled, trite PG-13 crapfests that pass for action movies. 

One final note - the Raid films display perfectly how independent filmmakers can produce outstanding films on modest budgets. The Raid 2 was made for just $4.5 million; the original just a scant $1.1 million. Yet the action is better executed and shot than any $100 million blockbuster you'll ever see come out of Hollywood. If this film sounds even remotely appealing to you, give it a try. It's definitely not for the squeamish, though.

-CC

Check out the trailer:

 

A Modern, Monumental Take on a Classic Tale - NOAH

NOAH
2014 - 138 minutes - Adventure/Drama
Director: Darren Aronofsky 
Country: United States 
IMDB: 6.6
Metacritic: 67
RT: 77% 

EpicEnthusiast's Rating: B

Watch this movie if you enjoy:

• Emma Watson

• biblical tales (albeit loosely based)

• visually appealing films 

• adventure or survival stories 

• Emma Watson 

Avoid this movie if you dislike:

• Emma Watson...ha, just kidding 

• religious films 

• special effects 

• PG-13 violence 

Noah: The classic biblical tale of heroism, survival and rebirth.

Well, sort of. 

From the very beginning of Noah, it was clear that director Darren Aronofsky was aiming to tell the story in a modern fashion. He wanted to use special effects to create a visually stunning world and bring the arc and its animals to life. He wanted to use makeup to convey the raw and rugged nature of Noah and his family. He wanted to loosely follow the familiar tale of the Old Testament, while also implementing a fresh, relevant message. And for the most part, he succeeded.

Russell Crowe as Noah

Not surprisingly, the story revolves around Russell Crowe as Noah. This was expected not only because his character was the title of the film, but also because of Crowe's proven track record. Here, he gives one of the most famous biblical figures a new identity. Soon after receiving his message from The Creator, (the only term used to reference God in the film) he establishes a focused, yet grouchy and stern mindset. His stubbornness sometimes reaches cruelty, but he knows what must be done, and won't let anyone, not even his family, get in the way. A hero in the end,  yes, but a cynical one. Crowe does a marvelous job, and puts forth a dominant performance.

His surrounding cast excels as well. Anthony Hopkins is fitting as the old and wise Methuselah, and provides a subtle sense of reliability and hope throughout. Jennifer Connelly flourishes as Noah's wife Naameh, and produces one particularly gut-wrenching 
sequence.

Emma Watson as Ila 

The real hidden gem of Noah, though, is Emma Watson as Ila. As one of the few women in the film, she lights up the screen with both her ravishing looks, and evident talent. Ila's range of emotion is perhaps the most widespread of all the characters, having to battle infidelity with love, and eventually miraculously giving birth, and caring for children. Watson portrays doubt, deprivation and innocence for half her role, and later switches to a mother that is determined and nurturing. Late in the film, she even consoles a broken Noah, and reassures him of his controversial decisions that birthed a beginning. The role of Ila proved to be a demanding one, but Watson shines the brightest in a very strong cast.

What makes the acting even more impressive is the fact that, at times, the actors don't have a whole lot to work with. It's clear that Aronofsky had a firm grasp on his visions and intentions for Noah, but his script isn't up to par with his production. He collaborated with longtime contributor Ari Handel, which is why the sometimes lackluster writing comes as a bit of a surprise. Handel is more known for producing Aronofsky's films, (The Fountain, Black Swan, The Wrestler, and now Noah) but he did help compose the The Fountain, and you'd expect a little something more from such a frequent partnership.

Oftentimes, the actor's dialogue weighs down otherwise powerful scenes. Suspenseful and gripping confrontations call for realistic and apt words, but they regularly disappoint. For such an intelligent and daring adaptation with complex characters, Noah's script is fairly elementary.

The arc under  construction

That being said, Aronofsky and cinematographer Matthew Libatique make up for it with their stunning visuals. From beginning to end, Noah is an absolutely gorgeous film, and the aesthetics really make it a worthwhile experience. They're especially impressive when the arc begins to form and Libatique creates sweeping shots through the structure, and gets up close and personal with the arriving creatures. The film has the budget and frequent special effects usage of a hollywood blockbuster, but where it differs is the reasoning behind it. The biblical world that Aronofsky and company create is not only pleasing to look it, but it's also vital to the story.

Overall, Noah is well worth seeing. It has caught some major flak from various religious groups, and I will admit that if you're looking for an entirely accurate re-telling of the famous story, you'll probably be disappointed, if not shocked, but that's far from point. Religious or not, you'll appreciate the strong acting and visual beauty, and you'll relate to it's compelling message. It puts an emphasis on human nature, and how we must make difficult decisions in the hardest of times. Noah is an iconic figure, but he was a human just like the rest of us. Aronofsky's version emphasizes this fact, and it makes for one captivating movie.

-EE

As of April 10, 2014, Noah is in theaters everywhere. Check out the awesome trailer here: 

P.S. - Just a quick note on the scores. I'll reiterate that the religious debates that Noah sparked were plentiful, and can most certainly account for the low user score of 6.6 on IMDB. Religious movie-goers that were upset by the accuracy of the film most likely just rated it 1/10, which is simply unfair. The solid Metacritic and Rotten Tomatoes scores of 67 and 77% are more telling.