In my review of 2011’s The Raid: Redemption, I discussed its opening shot, a close-up on a gun and watch, heralded the film’s violence and clockwork tautness. Gareth Evans’ sequel to his modern action classic opens on a long shot of a field of crops, grey-tinged by a sullen sky and lacerated by paths twisting through the forbidding vegetation. This opening shot signals the film’s expansion from its predecessor: both physically and narratively, spreading its scope beyond one building to examine the complicated interactions between the crime gangs that run Jakarta, with underlying tensions and betrayals as difficult to navigate as the paths coiling through those fields.
The Raid 2: Berandal is a distinct departure from Redemption. Aside from protagonist Rama (Iko Uwais) and its frequent, immaculately choreographed and brutally/beautifully filmed action scenes, it’s barely a sequel, going out of its way to severe any ties between the two films. The police corruption storyline that dominated the last half of the first film serves as the impetus for Rama venturing into prison (at which point the film suggests it might be a carbon copy of the original, right down to the confined setting and never-ending hordes of fighters, before vaulting two years into the future) to become buddies with a crime lord’s son. But the corruption storyline feels incidental to the main thrust of the narrative; I wouldn’t be surprised if this were a Die Hard with a Vengeance-type situation, where an unrelated script was retrofitted into a sequel to The Raid after its success.
The Raid 2 is defined by excess, not efficiency. Where The Raid was succinct, its sequel sprawls; it runs for two-and-a-half hours, alternately chronicling the minutiae of Jakarta’s crime organisations or unleashing ultraviolence across that time. The details of the narrative are intricately realised, comprehensively detailed and utterly conventional; if you’ve seen any crime thriller where a cop goes undercover, you won’t be surprised by the twists and turns of the story.
The first half of the film is coiled and constricted like a viper ready to strike, executed with panache and imbued with a sense of dread reminiscent of Only God Forgives (an easy analogy to make, given that Evans shares Refn’s fondness for precise framing, operatic emotion and rich colours). The execution is admirable but it sprawls too far; the need to establish every detail of the crime families squabbling to command the city means that the action scenes often come across as perfunctory punctuation. As you’d expect, the fights are technically amazing, but when even the protagonist seems not to care about the outcome they tend towards monotony.
The last half –the viper’s strike – as all the backstory and resentment are unleashed in a glorious barrage of brutality is exhilarating, thankfully. The grim seriousness of the first half is punctured by some welcome – though very, very dark – humour. The inclusion of characters like “Hammer Girl” (Julie Estelle) and “Baseball Bat Man” (Very Tri Yulisman) indicate that Evans is cognisant of the inherent cartoonishness of his violence, even if the depiction of said violence – all shattered bones and ragged skull cavities and severed tendons – is a long way from a Bugs Bunny cartoon. The film’s grim sense of humour is combined with a sense of equally grim exuberance, with the last half hurtling along through one of the best car chase scenes I’ve seen in years, followed by a videogame-inspired battle through the bad guy’s sumptuous headquarters.
I commend Evans for trying something different with this sequel; it’s nothing if not ambitious. The film’s ambition might blunt the action sequences through ubiquity and a bloated, clichéd storyline, but it pays dividends in those heady final minutes which exceed anything found in The Raid. Recommended viewing; if for no other reason than you’re unlikely to see an action film this well filmed and choreographed again anytime soon.
11 thoughts on “The Raid 2: Berandal (2014)”
It’s a shame this seems somewhat of a let down compared to the first. And 2 and a half hours? Man that’s ridiculous for a film like this. Keep it short and sweet I reckon. I’ll still go and check it out though as I loved the first. Great write up Dave.
I think if you liked the first film, you’ll still enjoy this one – both films have problems, they’re just very different problems! And at the same time, both films have astounding action sequences that justify the cost of entry by themselves. I do wish this had been a tighter film, though. Cheers 🙂
How have you seen this!!
Media screening on Tuesday (I’m on most local media lists at the moment, which means invites to preview screenings). It’s coming out next Friday in Australia, so roughly a week beforehand is pretty normal.
Finally got round to reading this. I wrote my review a while back and it seems I concur with a lot of your analysis although I am generally more excited about the film than you I think. I agree about the car chase, cinematography, the colours and the violence. I think I was more forgiving wrt the length. I never felt like it was going too long – I was surprised how long it had been by the end. I can’t remember the last time I was aware of an audience’s visceral response to a film. There were several gasp-inducing moments where several folks either noticably cringed or laughed. The violence is truly insane – but I never felt like it was descending into self-parody like 300. In short, I LOVED this film. Best so far this year imo.
I don’t really have a problem with the length, so much; I just wish all the time spent on plot was for something more substantial than a fairly generic “crime familes betray one another anon” bit.
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Great review. Such a great expansive sequel and its a real shame more people didnt see it. Still we liked it 😀
Yeah, it’s not that surprising – the intersection on the Venn diagram between fans of brutal action movies and fans of subtitled films is smaller than it should be – but it is a shame. Cheers dude
Its a small group but Damn fine one 😀
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