Di luar itu, ternyata The Raid juga punya andil dalam film "Captain America : The Winter Soldier".
I think they are a great concept for a villainous duo, but probably should have been used in some other film.Film "The Raid 2: Brandal", ternyata tidak hanya menuai pujian dari banyak famous people dunia. Their inclusion serves as part of the disjointed tone I’ve mentioned a few times – they feel like comic book characters, and are exaggerated even beyond the unsteady feel of the other fighters in this film. Even their seeming purpose as a “final boss fight” feels wrong because there is a significantly more epic fight scene that comes right before their showdown with Rama. At least the inclusion of Prakoso as another bad-ass fighter on Rama’s level serves some purpose in the story, and calls back to the events of the first film, but these guys don’t come from anywhere and don’t do anything that couldn’t have been done by another character. Their inclusion in this film feels tacked-on, and their presence does nothing to further either Rama’s or the villain’s story. I don’t need the closed captioning – I got it.’įinally, there are two characters here listed, in the credits, as Baseball Bat Man and Hammer Girl. ‘Yes,’ you tell them, ‘I know they’re unhappy. It’s like watching the film with an annoying relative who can’t stop talking about the thing, and how “edgy” it is, while you’re trying to watch it. There is no nuance in the Raid 2 – we just get to spend a long, long time being told everything. We KNOW that Rama is uncomfortable in his role in this story, we don’t need so much time to establish this unless there is NUANCE in the scene. We KNOW the crime boss father disapproves of his son’s actions – you told us. The only thing accomplished by the long, boring dialogue scenes in this film is the endless repetition of what the audience already knows. It’s different if a film lingers on a scene or conversation because context beyond the literal dialogue is implied through visual composition, music, or some other cinematic technique. You also don’t need such long scenes to establish character motivations and relations when those characters explicitly spell them out for the audience at every turn. The bad guys of this film are totally, irredeemably bad, and you know because they do Bad Things. The dialogue scenes are too long and suffer from an exaggerated emotional weight. Finally, because the actions scenes can go for way too long, the switching between a depleted suspension of disbelief and a disappointed desire for lighthearted, high-flying stunts makes for a draining viewing experience.
Should this scene feel hard and realistic, conveying the impact and weight of punches and faceplants, or should this scene have that superhero-y, impractical-but-fun goon-stomping vibe? Should action scenes showcase major martial prowess, or should they feel like a bumpy carnival ride? Even within the same series of shots, much less the same scene, the movie jumps back and forth like an excited kid whose had too much candy and wants to look at everything in a store. There is a lack of consistency in the tone of these effects in the fight scenes. This feeling is amplified by the constant, unsteady movement of the camera. Gore, violence, and their special effects can be made, and appreciated, for a wide range of reasons, but here it feels like a weird attempt at a theme park ride. This makes for a very disjointed presentation that weakens both the narrative and the action. Two other distractions during fight and action scenes are the rapid mixing of practical martial technique with cartoony, cgi-enhanced movements and the use of cgi blood spatters effects. Restricted use of this technique could be used to accentuate a single moment or a single movement, but its constant use is like a fridge “full of condiments and no real food.” Martial cinema should showcase its talent, not obscure it. This style of camera work is always the wrong choice when working with good martial actors because the crazy point of view both distracts from and pollutes the energy and skill of the on-screen fighters.
One of the most distracting elements of the action scenes is the heavy use of frenetic camera movement and frequent cutting, a high-energy ‘shaky cam’ style that has come to dominate modern action cinema.