The Raid: Redemption (Serbuan Maut)

Gareth Evans' The Raid: Redemption is about as intense as a movie can get. It grabs hold of you within the first 15 minutes and doesn't let go until the very end. I shouldn't have to say much more to convince everyone who loves action movies to go and see this movie right away, so the review portion of this entry will be short. But I have a special surprise at the end!

The Raid: Redemption stars Iko Uwais, the star of Evans' previous film, Merantau, as Rama, a rookie in the B-Unit of a SWAT team attempting to raid a building swimming with criminals. The crime lord in charge of the building is Tama, a paranoid man who hides out on the 15th floor and has rigged up his building with security cameras and henchmen. The SWAT team must make their way from the bottom to the 15th story in order to capture Tama. All hell breaks loose when Tama learns of their presence and sends everyone in the entire building to take them down.

From then on, it's a non-stop barrage of violent shootouts, stabouts, punchouts, and kickouts. One great battle ensues after another, as Rama quickly reveals himself to be a one-man beatdown machine, working his way to the top of the building on his own. There are a few twists and turns along the way, but I don't want to ruin them, and really, the movie focuses on delivering to us exactly what we want to see: Carnage.

I love the way the battles progress. The SWAT team relies heavily on their guns, but they only have so much ammo. Once they run out, the movie shifts into martial arts mode, as Iko Uwais uses his tremendous skills to evade the blades of machete-wielding tenants. The scene stealer baddie is Mad Dog (Yayan Ruhian), a guy who, when given a choice between shooting someone and fighting hand-to-hand, will throw his gun away in a heartbeat. Crazy as he is, you've got to respect him.

The Raid is a pretty amazing feat, from a technical standpoint. It's action filmmaking at its purest, and Gareth Evans deserves the praise he is getting. To make a movie that never gives the audience a chance to rest, to shoot and put together in editing all these action sequences that are clear and easy for the viewer to track, is a difficult challenge indeed.

There's already buzz that Gareth Evans is hard at work on a sequel. While I'm sure it's in good hands, and have the utmost faith in him to pull it off, I thought it couldn't hurt to throw out a couple of scene suggestions. It's going to be hard to top the first one, so here are a couple of moments of pure ownage that just might do the job, as horribly rendered by yours truly in MS Paint.

Here we have Rama kicking a guy's head clean off. The head flies through the air, clear over to a nearby basketball hoop. The head goes through the hoop, NOTHING BUT NET, with a SWISH sound effect, and then falls into the open mouth of a hungry monster, or possibly an alligator or a dinosaur. I'm not sure what that is that I drew.

And here we have a bad guy slicing open Rama's throat with a long knife. Little does he realize that even Rama's blood is badass, as it flows out of the wound on his neck, forms a blood fist, and wallops him one.

If you read this, Mr. Evans, I just wanted to let you know, you can have these ideas FREE OF CHARGE. I already owe you one for giving us The Raid.



And for everyone else, if you're interested in seeing a couple more of my illustrated reviews, check out my popular Logan's Run entry, and Goke, Body Snatcher From Hell, which is actually my favorite of all the reviews I've done.

Logan's Run

Keepin' the review part of this one short, but guess what? I've got illustrations!

Logan's Run is a 1976 science fiction film by Michael Anderson, set in a future where everybody is put to death when they reach 30. It stars Michael York as Logan 5, and Jenny Agutter as Jessica 6, two citizens who choose to run before their time is up, searching for the legendary "Sanctuary". They wind up exploring the underbelly of the world, seeing what their society is really like, and ultimately escaping, before deciding to return and bring freedom to the rest of their people. That's the very brief version.

It was made not long before Star Wars, which means the special effects weren't quite "there" yet. There's some high camp value therein, but it's all in fun. I actually liked the movie quite a bit. The world was really cool in that stylized 70's way. Lots of unconvincing miniatures and silly future clothes. Michael York and Jenny Agutter (mmmm...) are both enjoyable to watch and easily carry the movie. Peter Ustinov is kind of horrifying as the oldest man on earth. He's not meant to be, but if I met him, I'd never want to age past 30. Speaking of which, I always wished the maximum age was much younger, like it was in the book. Death at 30 isn't nearly as resonant as 21, and the social commentary could be much richer if all the people running around in this world are practically children. There's a remake coming out in the not too distant future by the guy who made Drive. Maybe he'll delve a little deeper into that.

And now, without further ado, my take on Logan's Run in four horribly rendered MS Paint pictures. Thanks for reading!

In Time

Andrew Niccol's In Time had to have been the easiest green light a movie has ever gotten. Imagine the pitch meeting: "I've got a high concept science fiction movie for you. It's in a future where aging has been cured, so everybody is sexy and young. Not a wrinkle or grey hair to be found! Hot young actors even play the old people!" "Stop right there. This is the easiest to market movie ever. You can start shooting next week." "Well, hold on, I might need a little time to polish the script--" "You. Can. Start. Shooting. Next. Week." "Off I go!"

I'm giving it a bit of a hard time. I actually had fun watching In Time, for all its flaws. Andrew Niccol wrote and directed Gattaca and wrote The Truman Show, which were two of my favorite science fiction films of the 1990's. Though he's never since reached the level of those first two movies, he's still quite good at high concepts and big ideas.

The idea behind In Time is that in a vague, distant future (no year is specified), genetic engineering has found a cure for aging. We are now programmed to stop aging on our 25th birthday, and then you get one year. That year isn't just the time you have left, though, it's also your currency. People buy and sell goods and services with their life. If for any reason, the ticker on your wrist runs out, you drop dead on the spot.

Niccol uses this conceit as a metaphor for the widening gap between the rich and the poor. Our hero is Will Salas, played by Justin Timberlake, who lives in the lower class district (Time Zone) of Dayton (get it? Date-on! HAHAHA). He lives quite literally day to day, and gets by working in a factory. While out drinking with his buddies, he comes across a guy with over 100 years left in his life, and saves him from the "Minute Men", who are kind of a time mafia? They steal people's time. The guy is from the land of the rich, where people can afford to live forever (New Greenwich, which is a ton more clever than Dayton). While hiding from the Minute Men, the guy tells Will all about how there's no reason everybody can't live forever, and the rich just keep raising taxes and the cost of living in order to control the population. Then, while Will is sleeping, he gives him the remainder of his life.

When Will wakes up, his first plan is to take his mom and head up to Greenwich, but when his mom dies on the way to meet him because bus prices just went up, it becomes... personal. He heads to Greenwich on his own, wins another millenium in a poker game, gets chased by Time Keepers (the time police, led by Cillian Murphy), falls in love with and kidnaps a rich man's daughter (Amanda Seyfried). Together they become Chronobonnie and Time Clyde, sort of Robin Hood figures who steal time from the rich and give to the poor.

The story is pretty fun. It lifts elements from a lot of different sources, which is OK if they are put to good use. I personally enjoy movies set in elaborate sci-fi worlds with their own sets of rules, so that aspect was fun for me. In Time's weakness is in the script itself. The dialogue is often pretty bad. Every bad play on words and pun involving time is used. The characters mostly feel pretty stock. They feel more like they're there to serve their purpose in the story than be real people. The class metaphor is forced on us pretty hard and often feels belabored and obvious.

The cast is actually pretty good. I actually like all the young-ish actors in it, and think they all could have done better if their characters had a little more depth. Andrew Niccol wisely put his best actors in the roles of older characters. Cillian Murphy and Vincent Kartheiser give the best performances. Kartheiser does a variation on his Mad Men character when playing Sylvia's father. He definitely sells the weight of old age better than I think Timberlake would have done (and Olivia Wilde, who I never bought as Timberlake's mom). There's one guy I want to point out, one of the Minute Men, who doesn't even have much of a speaking part, but decided it would be awesome if he wore a fedora slightly tilted. I have nothing to say about his performance, I just thought he looked ridiculous. He could be one of Timberlake's backup dancers.

Overall, In Time was a decent piece of cheesy entertainment. I'm not sure if it was worth a trip to the theater for, but we only paid matinee prices, so I can't complain. The fun of the movie is largely in the details of its well-realized world. I just wish they took a couple more passes on that screenplay to make the characters and dialogue a little more well-realized too.