The Raid Full Movie Download Filmyzilla

[Stetson Saenz]

Thismovie, as its title implies, is a sequel to "The Raid: Redemption," the 2012 Indonesian action film directed by the Welsh-born Gareth Evans, whose cinematic mission in life was, some reports have it, handed down to him when he was first exposed to the Indonesian martial arts. The nearly non-stop action of "The Raid," which is an epic depiction of a drug raid on an apartment block in which hordes of cops and criminals have at each other, is largely martial-arts driven, but with plenty of shooting and slashing, all of it shot in excruciatingly you-are-there close range and edited to both make your head spin and give you whiplash. Action aficionados hailed the movie as some kind of ne plus ultra, and Evans has clearly been eager to answer the fan question "How is he gonna top THAT?"

Evans does get around to topping it, with a climactic sequence that's about 45 minutes worth of mayhem that includes a very crunchy car-chase/shootout and a one-on-one battle that destroys a climate-controlled wine room in high style. The plot is both simplicity itself and impossible to follow: Rama, the hero of the first film, is compelled to go undercover to rout both corrupt cops and crime lords and the lethal henchmen of both camps. It's impossible to follow because there are just so damn many crime lords etcetera to keep up with, not that they're all that distinctive. The Fredo-esque son of one crime lord, Uco (Arifin Putra) distinguishes himself with sleek features and a jaded air, both of which genuinely suggest that he'd rather be fronting a Suede tribute band than doing mobster stuff. That's probably not a good thing. I also found that Oka Antara, who plays a stalwart enforcer who's not quite what he seems, gave better action leading man than Iko Uwais, who plays Rama.

None of this much matters of course. What matters is a machete-wielding contract killer, a pair of baddies who kill with baseball equipment and hammers, respectively (the latter character is named "Hammer Girl," say what), and all the sound and fury that is delivered with such a relentlessly straight face and gritted teeth that Tarantino's "Kill Bill" pictures look like "The Gang's All Here" by comparison. The intensity really falls flat during the scenes in which the action stops and various characters ponder the vicissitudes of loyalty and betrayal and all that. These sequences suggest that the lack of anything BUT action in the first movie was an indication of Evans realizing his limitations.

In any event, nobody's going to mistake these passages for Shakespeare. But the action stuff in "The Raid 2," while likely to alienate the squeamish and summon dark thoughts of cinematic nihilism amongst overthinking highbrows, really IS like nothing else out there. All those looking for a new kick are advised to seek it out, but don't blame me for the headache with which you might leave the theater.

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here.

There is a lot of death in this first series as you might expect, mostly killings: battles on different scales between and within different groups of Vikings and involving Vikings and others, mainly Anglo-Saxons but also with an unnamed Baltic tribe (at the opening of episode 1). There are also individual murders, executions and examples of gruesome one-sided slaughters of unarmed men, women and children (and monks). Disease makes an appearance but old-age and accidents make no intervention in the narrative.

We see animal sacrifice as a key component of Viking-Age life. It is mentioned many times and witnessed in episodes 8 (at Uppsala as part of the 9-yearly sacrifices) and episode 9 (at Kattegat in response to the plague). Poor goats! Yet it is sanctioned execution and sacrifice which dominate the series far more.

A further intriguing scene leaves me wondering what historical, literary or archaeological data (if any) might have served as inspiration. Having claimed and bullied Ragnar out of the treasures of his raid on Lindisfarne, Earl Haraldson and his lacky are seen hoarding the treasure among rocks in the hills about Kattegat. A boy of 12/13 is helping them dig the hole for the treasure and, once the treasure is loaded into the hole, they stab a boy and dump him on the treasure to guard it in the next world. The final scene is of his body, curled upon the treasures. It is yet another scene which serves to illustrate the pagan beliefs, but also the cruelty, of the Earl. Odin may well have said that those that hoard get the riches to play within the next life. Still, did people really get motivated by that idea? It is a moot point. Did they kill boys when doing so? Really doubt that somehow.

Putting all these instances together, season 1 of Vikings gives us a rich and varied sense of the complexity, material investment, variance of tempo, numerous participants and observers, and balance of ceremony and informality that must have been dimensions of Viking-Age mortuary practice. The series is more ludicrous with execution and sacrifice and more grounded in dealing with funerals in my view but historical accuracy is not really the issue: the portrayals made me think a lot about both what might have happened in the Viking Age and how we articulate these events through image and text in the present. The funerals in particular emphasise the positive things I say about the series in my first blog.

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