Tag Archives: The Raid: Redemption

Nostalgia, ‘The Force Awakens’ and ‘The Hateful Eight’

“I started to cry.”

That’s what my wife said as we walked out of the theater after watching The Force Awakens. When that John Williams’ Star Wars theme kicked in and those yellow words started scrolling through deep space, I have to admit, I started feeling pretty warm and fuzzy myself, and I’m not the most sentimental of people.

It was a huge plus that The Force Awakens is an OK flick. Back when Episode I came out, my boss and I split five hours sitting in line in the south Texas heat to score tickets for opening night. Then we were treated to a raging shitfest of a “film” that would be best forgotten. Poorly written, poorly acted, poorly directed and with a focus more on scenery and settings than character development or story – thanks, George Lucas – The Phantom Menace made a mockery of the Star Wars franchise.

I think that accounts for some of the insanity surrounding The Force Awakens. Episodes I-III were so poorly done, so uneven, so tedious that the bar was set incredibly low for Episode VII. The Force Awakens introduces two great new characters – Rey and Finn – as well as setting up a number of potentially interesting strings that will be unraveled in the next couple of movies. Real scenery was favored over computer-generated worlds, there was character development, the dialogue was easily better than anything from the first three episodes and more.

But there’s plenty going on that’s just not that good. For example, Rey and Finn’s introduction to Han and Chewbacca. “Hey, there’s billions of people in the universe, billions upon billions of stars and planets, and billions upon billions upon billions of mileage in the galaxy, but pretty much the second Rey and Finn enter space, they run into the one person and one wookie they most need to run into.” The odds of that happening are pretty much like winning the Powerball and the Mega Millions jackpots, receiving a Pulitzer, getting elected president of the United States and being struck by lightning six times … all on the same day. And don’t try blaming The Force for defying the odds. It’s poorly done.

And then it gets worse. Abrams brings in Iko Uwais and Yayan Ruhian from The Raid: Redemption and The Raid 2 for cameos in the scene right after the previously mentioned fortuitous meeting, when Han’s man-eating cargo escapes and starts slinging blood and body parts around his ship. Why cast two of the biggest martial arts badasses on the planet only to have them run around and scream like little girls playing “Bloody Mary” at a sleepover? Beyond me.

There are other things, as well. The dialogue and acting in the scene where Han and Leia reunite was hard to watch it was so poorly done. I’m not sure why everyone was so excited about Oscar Isaac. Loved him in Ex Machina, but in The Force Awakens, he’s an under-cooked, third-rate Han. Kylo Ren is a sullen, uninteresting douche like his Grandpa Anakin and not worthy of his Grandpa Vader’s helmet. The scenes at Leia’s base are poorly framed and look cheaply done. And so on.

This is when the insanity surrounding The Force Awakens kicks in. People are willing to forgive a lot because Han is back acting cocky, the shadow of Luke hangs over all of the proceedings, Leia is still running things and Chewy provides some laughs. Don’t get me wrong, I loved all of that. But the nostalgia is not enough to hide The Force Awakens weaknesses, and it’s surely not enough to make it the highest-grossing ever … at least, in my opinion.

I had similar feelings about Quentin Tarantino’s The Hateful Eight. Luckily, it’s a better film than The Force Awakens. Jennifer Jason Lee put herself back on the map with her performance as Daisy Domergue. The snowy shots of Wyoming, a terrific cast and the claustrophobic setting of Minnie’s Harberdashery were all solid.

But the story mostly benefits from its similarities to Reservoir Dogs, which I think is the superior film. Quentin Tarantino fans love seeing QT faves like Kurt Russell, Samuel Jackson, Michael Madsen and others getting all macho and manly and staring each other down. It’s like Tarantino made a three-hour film out of the Mexican standoff at the end of Dogs. At lot of classic Tarantino.

Which is the problem. I think Tarantino did a better job of building the tension in the opening scene of Inglorious Basterds than he did in Eight. I think the showdown in Reservoir Dogs benefits from a better build-up than Eight. I think the Bride’s story of revenge is superior to that of Major Warren. I think Madsen and Tim Roth were better in Reservoir Dogs and Russell is better in Death Proof. And this is the most Jules-like Jackson has been since Pulp Fiction. I was waiting for him to start screaming, “What does Abraham Lincoln look like? Does he look like a bitch?”

Again, though, that doesn’t mean Hateful Eight is bad. It’s probably a better film than Death Proof, Kill Bill Vol. 2, Django Unchained and 95% of what landed in theaters in 2015. And fully admit that I look forward to the day I go to see a stage production of Hateful Eight, because it’s just waiting to be adapted.

For me, though, both in the case of The Hateful Eight and The Force Awakens, the nostalgia doesn’t make up for the flaws. But judging from reviews and box office numbers, I may be alone in that.

So it goes.

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‘Raid 2’ ranks with greatest sequels of all times

"The Raid 2" will make you re-think riding on public transportation.

“The Raid 2” doubles as an informative documentary about the dangers of public transportation.

There’s a scene in Matrix Revolutions where Morpheus, Trinity and Seraph go to meet with the Merovingian in an attempt to free Neo. They go up an elevator in the club, the door opens and all hell breaks loose … in a scene that looks and plays a lot like the scene from the original Matrix where Neo and Trinity go in an attempt to free Morpheus, enter the lobby of an office building and all hell breaks loose. It was bizarrely redundant, maybe an attempt by the Wachowskis to comment on the repetitive nature of life, that when you continue the same violent patterns, you get the same results. If so, it was unnecessary, particularly in a film trilogy so laden with symbolism and depth of story-telling that it could have used a little more lightness, if anything.

To me, that’s what The Raid felt like: A well-made action film packed with bizarrely redundant fight scenes. After the initial assault on a drug lord’s bunker-like apartment building goes haywire, the SWAT team and none of the dealers seem to have guns or ammo. So on the one hand, you end up with this bad-ass trudge up story after story as our hero cop, Rama, whips one hardcore gang fighter after another, hoping to finish the job and return safely to his family. On the other hand, you have this incredibly redundant set of hand-to-hand fight scenes limited by the setting. It’s not that some battles don’t stand out, but by-and-large it just seems to be a lot of the same moves over and over, something more akin to video games than film. It doesn’t hurt the movie much, mostly because the fight scenes are so well choreographed and because Raid: Redemption moves quickly, not giving the viewer much time to dwell on it. But after watching it once, I felt no compulsion to see it again.

Flash forward to my viewing of The Raid 2.

Oh. My. God.

The scene linked above is amazing. It’s key to the plot, as Rama is now undercover, trying to insinuate himself into the inner circle of Uco, the only child of a gang chief. He has to keep Uco alive in prison, which is hard to do because Uco’s pretty high-profile and very much an asshat. And Rama has to keep himself alive, as he’s already dealing with a target on his own back. The fight itself is amazing, the choreography, the mud and the fact that the bulk of the scene is long, uncut, single-shot action. Director Gareth Evans and cinematographers Matt Flannery and Dimas Imam Subhono show off in the least showy way possible, making the story and action the focus, not drawing attention to the fancy stuff they can do with a camera even as they do it.

And that scene may be the third of fourth best action/fight scene in the film. Let that sink in.

Edwards, who also wrote the script, is freed here. It’s pretty obvious that the success of Raid: Redemption gave the filmmaker and muse/fight choreographer Iko Uwais, who plays Rama, the cheddar to get crazier on the second one. The car chase fight is worth the price of admission, something you can do with the kind of money and time Edwards and Co. likely didn’t have with the original. It’s nice to see a director who gets an opportunity and doesn’t just add more violence, more gunfights and more explosions, but better violence, better gunfights and better explosions.

The writer-director also doesn’t just limit improvements to the look and action of the film. The cast is broad and the story is more intricate than its predecessor, mixing clean and dirty cops, Idonesian and Japanese gangsters. All of this revolves around the simplicity that guided the first film. Rama is a man who worships God, loves his family and believes fiercely in justice. That is all that drives him in the first film, and all that drives him in the second. He has no politics, no desires, is incorruptible. From that simplicity springs a story that is part The Godfather, part The Departed, and quite possibly results in a film than is better than either.

I know, that last part sounds like heresy. But The Raid 2 is that good, up there with the Empire Strikes Back, The Godfather 2 and Aliens as a sequel that (arguably) surpasses its original. I think, had this been an English-language film made by an American studio, this is the kind of film that could have been in the conversation during awards season.

It will be interesting to see where Edwards and Uwais go next, if they maybe take it to a foreign locale so they can go with an English-speaking cast. My guess is no, since Tony Jaa has been rumored to make an appearance in the third go-round. On the one hand, that will limit its American exposure, which I find disappointing. On the other hand, I don’t mind being one of the few in this particular cult.

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