The highlight of "Assault" is mainly intensive action confrontation. Even Chinese fans who have been fed drug-resistant high-dose Kung Fu films since childhood will be inspired by the action spectacle in the film to stimulate a long-lost movie climax. Film director Gareth Evans admitted that the two main sources of the film are the classics of police films such as Die Hard and Police Station No. 13 and the other is the Hong Kong Kung Fu films of the 1970s and 1980s. In the action scenes of "Assault", the shadow of the above-mentioned classics can be seen no matter whether it is a gunfight or a fist. What's valuable is that the editor boldly innovates and turns out many pieces of film that are exhausted. This is the mystery that has won many praises.
And put the story aside and watch the first action scene of the film. The first setback encountered by the aggressive police force was because of a teenager. The director used front and back close-ups and reduced the sound effects to exaggerate the brief confrontation, and then used slow motion to show the young man escaping, calling the police, and being shot, magnifying this short moment. While creating suspense, it strongly hints at what terrible enemy the police force will face. This kind of rhythmic sense of playfulness is a fine tradition of action movies that has been forgotten by most commercial productions. The scene where the white-headed deputy captain still accurately shoots the boy after the door is closed. The action is very cool and conforms to the character's personality, but it is completely inconsistent with the combat skill level shown by this person in the back. Highlights the tone of the entire action drama in "Raid": Appreciation first, character creation second, and rationality third.
The counterattack of the gangster is the prelude to the movie's large-scale action scene. From the cold-blooded sniper, the cunning of the sniper to the unscrupulous shooting of the police car, the gang's rampancy is laid out in a layered manner. Lay a psychological foundation for the unrestrained violent conflict between the police and bandits.
The subsequent gun scene is the climax of the film's gun battle. The most acclaimed scene of "gunfire in the courtyard", first shows the shadows in the door cracks and the shadows of the enemies in the dark, rendering the policemen embarrassed by the enemy, and then slow motion and lighting effects show the team members "wrong shot" with The catastrophic consequences of coming. Just like Peking Opera "Sanchakou", the secret groping is switched to the stormy regular gunfight mode. The director used his ingenuity to give the hell-like killing a poetic touch of light and shadow. This passage is worthy of "violent aesthetics."
The mixed confrontation of hot and cold weapons after "gunfire" is the first action climax of the film. Compared with the over-smooth "gun fist" in Western movies such as "Torn Horizon", here is the long axe, bullets and fists. The combination is even more bloody, and in the end the actor used an ingenious "refrigerator gas tank bomb" to wipe out 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 for follow-up, which is a rare design in action movies.
The melee in the corridor for about 38 minutes brought "Assault" to the cold weapon confrontation mode familiar to Chinese audiences. The protagonist Iko Aius demonstrated the dagger and baton skills of the Indonesian martial art "Punjasera", focusing on attacking the thugs' throats and joints. For Chinese audiences, the most shocking thing is the effect of various daggers on the human body. Since Kitano's version of "Zato City" creatively introduced computer plasma into action scenes, they have always used editing, borrowing and squeezing blood. The "Middle Knife" can finally be realized in one shot, and the final fight in the Korean film "Uncle" is the latest example. Of course, "Assault" is more realistic and credible due to its top-notch action actors. The various actions of poking, slashing, and cutting with daggers seem shocking. The villain thugs suddenly assassinated his companion in the elevator, and the tip of the knife drew fine marks on the metal plate, which was also a magical touch that left a deep impression on people.
For about 50 minutes, the protagonist encounters the little boss’s fight and is full of various tricks. In this segment, at least two scenes use the dummy. One is the scene where he hooked the back of the red shirt and dragged it down, and the wood stubble stuck in his throat and died. Because it was so lifelike, the audience who saw it for the first time would inevitably take a breath. What’s “interesting” is that when Red Robin rushed out of the patio, the film didn’t forget to zoom in and gave him a close-up, showing his ominous premonition when he saw his comrade die tragically. The hero's "big move" to end the small boss is to hold his head and hit the nape of his neck, which is also the ultimate move in Pan interception.
The true opponent of the righteous force did not surface until about an hour. It turned out to be the bodyguard "mad dog". In a single fight with the captain, the villain played by the martial arts master Ya Yan showed the distinctive characteristics of Pan Jisaila. In addition to attaching importance to Southeast Asian martial arts techniques such as elbow hits and knee tops, Indonesian martial arts also attach importance to the "cut line" technique to deal with these techniques.
The play in the drug factory focused on the application of utensils, using folding stools to hit, hit the wall, and hit the table. The most beautiful is the dagger confrontation. The fighting principle is similar to that of empty hands, except that it hurts more. "Assault" does not advertise "No Wea" like "Boxing Fighter", but it does not seem to be hanging.
In the final duel between the two brothers and the mad dog, the director did the same as the director. After a long series of silent actions, the audience understood the real intention of the mad dog. The confident and cold master can most inspire the audience's passion. This is an 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. Three-person fighting scenes require a high level of skill to cooperate, and it is also the easiest to be surprisingly interesting, as evidenced by the numerous three-person scenes in Jackie Chan's movies. The action design and finishing effect of this scene are top-notch. Ordinary audiences often use the word "real" in the evaluation of "Assault". They don't know that real fighting is actually not good at all. The "true" of "Assault" is the same as other action classics. It is carefully designed and arranged, full of a lot of Gorgeous maneuvers and complicated offensive and defensive rounds, just made a refreshing effect. In this scene, the mad dog doesn't touch the ground, and throws people out with the power of the waist swing, 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's attempted takeoff and being dragged back to the ground, and some similar details during the fight in the corridor in front, you can see the main creator's mind.
There are also some unreasonable points in "Raid". For example, the protagonist has to push his opponent to fall together when it is unnecessary, for example, finally using a fluorescent tube to cut the neck of a mad dog, etc., which are over exaggerated and lack credibility. But it shows the charm of Indonesian martial arts, revives the tradition of old action movies that pay attention to rhythm and creates atmosphere, and adds some new elements and new shooting methods to the vocabulary of action movies. These are commendable achievements. It's not an exaggeration to call it the "Best Action Movie of the Year".
Kazama Falcon 2012 August 16
published in the "Southern Entertainment" August 22 (2012 of 33)
http://www.smweekly.com/appraise/201208/30967.aspx
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