A fighter stands in a corridor and demolishes an enemy. Some of the hand-to-hand battles are shameless in how they mimic video games. At the end, we see a lone figure walking slowly away from the camera while the music supplies a paroxysm of significance. Thus it is inevitable that they eventually will hold each other's lives in their hands and resolve deep childhood feelings to their satisfaction, if not to ours. I neglected one plot point that is major by default, since there are so few. Is the lieutenant up to something? What? And why? No one in the film has a personality they are all ruthless fighters without a brain in their heads. (It was filmed in Indonesia.) Establishing Rama as a Muslim seems pointless, except as a cheap fakeout in character development.
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What country are we in? The movie never tells us. He reminds me of my beloved movie cliche, the Climbing Killer. Wearing clothes that make you stand out from all the others is a dimwitted move, but then again how bright is Tama (Ray Sahetapy), the crimelord, by barricading himself on the top floor? Elementary strategy suggests he can be cornered there.
He is the lieutenant, who has set up the raid. The van carrying his team parks in front of the building and is met by a gray-haired man wearing a bulletproof vest over a bright sports shirt. The film opens by introducing rookie cop Rama ( Iko Uwais), who recites his morning prayers on a prayer rug, undergoes a grueling physical workout and then tenderly kisses his pregnant wife goodbye. One fighter explains: "Squeezing a trigger? That's like ordering takeout." Most fighters on both sides are armed with automatic weapons, swords, machetes, clubs and knives, but they prefer hand-to-hand combat. Young kids are "spotters," who sound the alarm. Most of the building's residents are living rent-free and are loyalists to the ganglord. Its assignment: Fight its way to the top, floor by floor. The SWAT team enters on the ground floor. The gangsters have their headquarters on the top floor of a 15-story building, where they can spy on every room and corridor with video surveillance. There are two teams, the police SWAT team and the gangsters. "The Raid: Redemption" is essentially a visualized video game that spares the audience the inconvenience of playing it.
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Have you noticed how cats and dogs will look at a TV screen on which there are things jumping around? It is to that level of the brain's reptilian complex that the film appeals. They require no dialogue, no plot, no characters, no humanity. They are content, even eager, to sit in a theater and watch one action figure after another pound and blast one another to death. There's obviously an audience for the film, probably a large one. The Welsh director, Gareth Evans, knows there's a fanboy audience for his formula, in which special effects amp up the mayhem in senseless carnage. But this film is almost brutally cynical in its approach. I have no prejudice against violence when I find it in a well-made film.
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