The Raid Redemption Indonesia Audio Track Download
Egisto Chancellor
As a rookie member of an elite special-forces team, Rama (Iko Uwais) is instructed to hang back during a covert mission involving the extraction of a brutal crime lord from a rundown fifteen-story apartment block. But when a spotter blows their cover, boss Tama (Ray Sahetaphy) offers lifelong sanctuary to every killer, gangster and thief in the building in exchange for their heads. Now Rama must stand in for the team's fallen leader Jaka (Joe Taslim) and use every bit of his fighting strength - winding through every floor and room to complete the mission and escape with his life.
Each year there are a few movies at Sundance that become exceptionally hyped, causing mainstream angst while film-lovers await distribution. I take pride in having seen '(500) Days of Summer' and 'Moon' at their Sundance premieres. Although 'The Raid' had already hit the festival circuit a few months before Sundance (it premiered at the 2011 Toronto International Film Festival), it's one title that, when I saw it, I walked away with the pride of being able to say, "I saw it at Sundance."
As expected (and as we want them to), things go awry shortly upon entering the building. After clearing the first six floors, The Boss is tipped off to the intrusion, so he pits all of his tenants and henchmen against the SWAT team. Any tenant who fights against the SWAT team is promised free rent for life, so all hell is about to break loose. (If this premise sounds familiar, that's because it appears identical to the one seen in the trailer for the upcoming Judge Dread reboot, 'Dread.') Let the super-stylized hyper-violent badass action begin.
As I watched 'The Raid' at Sundance, I kept thinking that (then) relatively unknown director Gareth Evans was to Sundance action movies what Duncan Jones was to Sundance science fiction movies. Jones just needed one film to land him on the map, 'Moon,' then he got a great mainstream studio gig that landed him 'Source Code.' I predict that Evans is about to do the same with action movies. 'The Raid' is his 'Moon.'
Sony has given 'The Raid' a 1.78:1 1080p/AVC MPEG-4 encode. While I know that many will complain about the noir-ish darkness of the movie, I can attest to the fact that 'The Raid' appears almost exactly as it did on the big screen at Sundance, only clearer.
More audio options are presented than I knew existed for 'The Raid.' When the film premiered at Toronto, it was set to the original score composed by the sound designers, but when the film premiered at Sundance, it featured the new score composed by Mike Shinoda (of Linkin Park) and Joe Trapanese. Both versions are presented in lossless formats here. The original score with a 5.1 DTS-HD Master Audio presentation is only available with the original Indonesian/Bahasa dialog track, but the new 5.1 DTS-HD Master Audio score is featured with both the Indonesian/Bahasa and English tracks. Also included with the Shinoda/Trapanese score are 5.1 Dolby Digital Portuguese and Spanish tracks. Are you still with me?
'The Raid' opens with our hero beating the hell out of a large punching bag. Each hit carries a rich deep bass and a thump that resonates in your chest. The next scene shows the fully-loaded SWAT vehicle hauling through drizzling streets at dawn. As the tires cut their way through the soaked streets, you can hear the constant splash of tires pushing the water away accompanied by highly dynamic rain falling around the room. The scene that follows takes place within the SWAT van. The dialog of the debriefing has that hollow sound created by voices in a large hard-walled empty space. The rattling rumbles of the heavy van also carry naturally.
Whenever the subject matter of the movie warrants amazingly mixed audio - like in the previously described scenes - it does so masterfully. The only flaw is how underwhelming the non-action scenes are compared to these two and the other 90 percent of the movie. After these two opening scenes, it isn't until the raid gets underway that we are given more drool-worthy top-notch audio mixing again. On several occasions, both Mrs. Hickman and I mistakenly thought that someone was opening our front door when it was really an in-movie off-screen door that was being opened. The surround and rear channels have the potential to be lit up with astonishing effects, but only when the action calls for it. The non-action scenes are pretty flat - but it's a good thing there aren't many of them.
For what it's worth, with so many options presented, I found the lossless Shinoda/Trapanese score with the Indonesian/Bahasa track and English subtitles to be the most impressive and awesome combination.
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