This is a collaboration between an American director and an Indonesian kung fu actor. I think from an action point of view, it definitely surpasses Jet Li, Jackie Chan and Donnie Yen who have been in the kung fu movie "Lian Po Old" in recent years, and the rhythm and atmosphere of the movie are also well controlled. , can be said to be a must-see movie in 2011. The film review of "Southern Entertainment" on August 22 was very well written and reprinted here: There are a lot of movies that come out every year around the world, but there are not many that can conquer both experts and ordinary audiences at the same time. A few years ago, "Inglourious Basterds", "Thunderbolt", "Confession", etc., are all high-quality products that can be introduced in genre films and win the appreciation of both refined and popular. It's only halfway through this year, but this crown seems to have already fallen on the head of "The Raid". The highlight of "The Raid" is mainly the intensive action confrontation. Even Chinese fans who have been fed drug resistance by high-dose kung fu films since childhood will be inspired by the long-awaited viewing climax by the succession of action spectacles in the film. The film's director, Gareth Evans, admitted that the film's two origins are the classics of police and gangster films such as "Die Hard" and "Blood on the 13th Police Station", and the other is the Hong Kong kung fu film of the 1970s and 1980s. The action scenes of "The Raid", whether gunfights or fists, can all see the shadow of the above-mentioned classics. What is valuable is that the director has boldly innovated the old and brought forth the new, and turned out the originality of many scenes that have been photographed to the limit. This is the secret of winning many praises. And put the story aside and watch the film's first action scene. The first setback encountered by the aggressive police force was actually because of a teenager. The director exaggerated the short confrontation by using front and back close-ups and lowering the sound effects, and then used slow motion to show the process of the teenager running away, calling the police, and being shot, magnifying this short moment. While creating suspense, it strongly hints at what a terrible enemy the police force will face. This hard-to-play rhythm is a fine tradition of action films that has now been forgotten by most of the big commercials. The scene where the deputy captain Baitou still accurately shoots the teenager after the door is closed is very cool and in line with the character's character, but it does not meet the level of combat skills shown by this person in the back. It highlights the tone of the action scenes of "The Raid": viewing first, character building second, and rationality third. The gang's counterattack is the prelude to the film's large action scenes. From the cold-blooded snipers, the cunning of the unbound, to the unscrupulous shooting of police cars, the gang's rampant is layered. Lay the psychological foundation for the uncontrolled violent conflict between the police and the bandits. The subsequent shootout is the climax of the film's shootout sequence. The most famous scene of "gun fire in the patio" first shows the shadows in the cracks of the door and the shadows of the enemies in the dark, rendering the dilemma of the police being attacked by the enemy, and then adds lights in slow motion. The light effects show the disastrous consequences of the team's "wrong shot". Just like the secret exploration of Peking Opera "Sanchakou", it was switched to the regular gunfight mode of the storm. The director used his ingenuity to give the poetic light and shadow to the hell-like killing. Such a paragraph deserves to be called "violent aesthetics". The mixed confrontation between hot and cold weapons after "Gun Fire" is the first action climax of the film. Compared with the too smooth "Gun Fist" in Western films such as "Torn Horizon", the long axes, bullets and fists here The combination is even bloodier. In the end, the male protagonist uses an ingenious "refrigerator gas tank bomb" to eliminate the first wave of enemies, which is also the only blasting scene in the film. In this section, there is a scene where the police jump to the lower level, which is a rare design in action movies. The 38-minute melee in the corridor brought "The Raid" to the cold weapon confrontation mode familiar to Chinese audiences. The hero Iko Aius demonstrated his dagger and short stick skills in the Indonesian martial art "Panjersela", focusing on attacking the throats and joints of the thugs. For Chinese audiences, the most shocking effect should be the effect of various daggers stabbing the human body. Since Takeshi Kitano's version of "Zatoichi" creatively introduced computer plasma into action scenes, it has always been performed with editing, borrowing and squeezing blood. The "middle knife" can finally be realized in one shot, and the last fight of the Korean film "Uncle" is the latest example. Of course, "The Raid" is more believable because of its top-notch action actors. The movements of various daggers poking, scratching, and slicing seem shocking. The villain thug suddenly assassinated his companion in the elevator, and the tip of the knife drew fine marks on the metal plate, which was also a stroke of genius that left a deep impression. For about 50 minutes, the male protagonist encounters a small boss fight full of all kinds of tricks. There are at least two scenes using dummies in this segment. One is the male protagonist throwing the white-clothed minions from the patio, breaking his waist and dying, and the other. One is the scene where he hooked the red-clothed minion by the back of his neck and dragged him down, the stubble stuck in his throat and died. Because it was so realistic, the audience who saw it for the first time could not help but gasp. The "interesting" thing is that when the red-clothed minion rushed out of the patio, the film did not forget to zoom in on the camera and gave him a close-up to express his ominous premonition when he saw the tragic death of his accomplice. The front and back shots are very good. The hero's "big move" to end the little boss is to hold his head and hit the back of his neck, which is also the ultimate move in Panjcera. The true opponent of the Forces of Justice didn't surface until an hour or so, and it turned out to be Bodyguard "Mad Dog". In a single fight with the captain, the villain, played by martial arts master Yayan, shows the distinctive characteristics of Panjay Sera. In addition to attaching importance to Southeast Asian martial arts skills such as elbow strikes and knee tops, Indonesian martial arts also attaches great importance to the "cutting line" technique to deal with these techniques. Fighting in drug factories focuses on the application of utensils, hitting with folding stools, hitting walls, and hitting tables. The most beautiful is the dagger confrontation, its fighting principle is similar to that of empty hands, but it does more damage. "Raid" does not advertise "No Weiya" like "Quan Ba", but it does not seem to be hanging, and it is really worthy of admiration. At the end of the duel between the two brothers and the mad dog, the director first made the atmosphere, and after a long silence, the audience understood the true intention of the mad dog. The confident and ruthless master can inspire the enthusiasm of the audience the most, which belongs to the action. The unique mood of the film. In terms of film skills, a duel is the least used and the environment is the simplest to highlight the authenticity of the three action actors. The three-person fight scene requires a high level of skill to cooperate, and it is also the most surprising, as evidenced by the numerous three-person scenes in Jackie Chan's movies. The action design and finish of this scene are top-notch. Ordinary audiences often use the word "real" when evaluating "The Raid", but they don't know that the real fight is actually not good-looking at all. Like other action classics, the "true" of "The Raid" is carefully designed and choreographed, full of a lot of Gorgeous manoeuvres and complicated offensive and defensive rounds just made a refreshing effect. In this scene, the mad dog does not touch the ground, throwing people out with the power of the swing of the waist alone, which is an action that has never been seen on the screen. In order to seek "truth", the film also specially added some "action errors", such as the mad dog trying to jump and being dragged back to the ground, and some similar details during the fight in the front corridor, you can see the main creator's mind. There are also some unreasonable places in "The Raid", such as the male protagonist pushing his opponent to fall together when it is unnecessary, for example, using a fluorescent tube to cut the mad dog's neck at the end, etc., which are more than exaggerated and not credible. But it presents the charm of Indonesian martial arts, revives the old action film tradition of focusing on rhythm and creates atmosphere, and adds some new elements and new shooting methods to the vocabulary of action films, all of which are commendable achievements. It's no exaggeration to call it "the best action movie of the year". The principle of fighting is similar to that of empty hands, but it does more damage. "Raid" does not advertise "No Weiya" like "Quan Ba", but it does not seem to be hanging, and it is really worthy of admiration. At the end of the duel between the two brothers and the mad dog, the director first made the atmosphere, and after a long silence, the audience understood the true intention of the mad dog. The confident and ruthless master can inspire the enthusiasm of the audience the most, which belongs to the action. The unique mood of the film. In terms of film skills, a duel is the least used and the environment is the simplest to highlight the authenticity of the three action actors. The three-person fight scene requires a high level of skill to cooperate, and it is also the most surprising, as evidenced by the numerous three-person scenes in Jackie Chan's movies. The action design and finish of this scene are top-notch. Ordinary audiences often use the word "real" when evaluating "The Raid", but they don't know that the real fight is actually not good-looking at all. Like other action classics, the "true" of "The Raid" is carefully designed and choreographed, full of a lot of Gorgeous manoeuvres and complicated offensive and defensive rounds just made a refreshing effect. In this scene, the mad dog does not touch the ground, throwing people out with the power of the swing of the waist alone, which is an action that has never been seen on the screen. In order to seek "truth", the film also specially added some "action errors", such as the mad dog trying to jump and being dragged back to the ground, and some similar details during the fight in the front corridor, you can see the main creator's mind. There are also some unreasonable places in "The Raid", such as the male protagonist pushing his opponent to fall together when it is unnecessary, for example, using a fluorescent tube to cut the mad dog's neck at the end, etc., which are more than exaggerated and not credible. But it presents the charm of Indonesian martial arts, revives the old action film tradition of focusing on rhythm and creates atmosphere, and adds some new elements and new shooting methods to the vocabulary of action films, all of which are commendable achievements. It's no exaggeration to call it "the best action movie of the year". The principle of fighting is similar to that of empty hands, but it does more damage. "Raid" does not advertise "No Weiya" like "Quan Ba", but it does not seem to be hanging, and it is really worthy of admiration. At the end of the duel between the two brothers and the mad dog, the director first made the atmosphere, and after a long silence, the audience understood the true intention of the mad dog. The confident and ruthless master can inspire the enthusiasm of the audience the most, which belongs to the action. The unique mood of the film. In terms of film skills, a duel is the least used and the environment is the simplest to highlight the authenticity of the three action actors. The three-person fight scene requires a high level of skill to cooperate, and it is also the most surprising, as evidenced by the numerous three-person scenes in Jackie Chan's movies. The action design and finish of this scene are top-notch. Ordinary audiences often use the word "real" when evaluating "The Raid", but they don't know that the real fight is actually not good-looking at all. Like other action classics, the "true" of "The Raid" is carefully designed and choreographed, full of a lot of Gorgeous manoeuvres and complicated offensive and defensive rounds just made a refreshing effect. In this scene, the mad dog does not touch the ground, throwing people out with the power of the swing of the waist alone, which is an action that has never been seen on the screen. In order to seek "truth", the film also specially added some "action errors", such as the mad dog trying to jump and being dragged back to the ground, and some similar details during the fight in the front corridor, you can see the main creator's mind. There are also some unreasonable places in "The Raid", such as the male protagonist pushing his opponent to fall together when it is unnecessary, for example, using a fluorescent tube to cut the mad dog's neck at the end, etc., which are more than exaggerated and not credible. But it presents the charm of Indonesian martial arts, revives the old action film tradition of focusing on rhythm and creates atmosphere, and adds some new elements and new shooting methods to the vocabulary of action films, all of which are commendable achievements. It's no exaggeration to call it "the best action movie of the year". The word "real" is often used in the audience's evaluation of "The Raid", but the real fight is actually not good-looking at all. Like other action classics, the "true" of "The Raid" is carefully designed and choreographed, full of a lot of Gorgeous manoeuvres and complicated offensive and defensive rounds just made a refreshing effect. In this scene, the mad dog does not touch the ground, throwing people out with the power of the swing of the waist alone, which is an action that has never been seen on the screen. In order to seek "truth", the film also specially added some "action errors", such as the mad dog trying to jump and being dragged back to the ground, and some similar details during the fight in the front corridor, you can see the main creator's mind. There are also some unreasonable places in "The Raid", such as the male protagonist pushing his opponent to fall together when it is unnecessary, for example, using a fluorescent tube to cut the mad dog's neck at the end, etc., which are more than exaggerated and not credible. But it presents the charm of Indonesian martial arts, revives the old action film tradition of focusing on rhythm and creates atmosphere, and adds some new elements and new shooting methods to the vocabulary of action films, all of which are commendable achievements. It's no exaggeration to call it "the best action movie of the year". The word "real" is often used in the audience's evaluation of "The Raid", but the real fight is actually not good-looking at all. Like other action classics, the "true" of "The Raid" is carefully designed and choreographed, full of a lot of Gorgeous manoeuvres and complicated offensive and defensive rounds just made a refreshing effect. In this scene, the mad dog does not touch the ground, throwing people out with the power of the swing of the waist alone, which is an action that has never been seen on the screen. In order to seek "truth", the film also specially added some "action errors", such as the mad dog trying to jump and being dragged back to the ground, and some similar details during the fight in the front corridor, you can see the main creator's mind. There are also some unreasonable places in "The Raid", such as the male protagonist pushing his opponent to fall together when it is unnecessary, for example, using a fluorescent tube to cut the mad dog's neck at the end, etc., which are more than exaggerated and not credible. But it presents the charm of Indonesian martial arts, revives the old action film tradition of focusing on rhythm and creates atmosphere, and adds some new elements and new shooting methods to the vocabulary of action films, all of which are commendable achievements. It's no exaggeration to call it "the best action movie of the year".
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