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The Raid 2
The Raid 2
The Raid 2
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The Raid 2
US theatrical release poster
Directed byGareth Evans
Written byGareth Evans
Produced by
  • Ario Sagantoro
  • Nate Bolotin
  • Aram Tertzakian
Starring
Cinematography
  • Matt Flannery
  • Dimas Imam Subhono
Edited byGareth Evans
Music by
Production
companies
Distributed bySony Pictures Classics (North America)
Release dates
  • 21 January 2014 (2014-01-21) (Sundance)
  • 28 March 2014 (2014-03-28) (United States)
Running time
150 minutes[1]
CountryIndonesia
Languages
  • Indonesian
  • Japanese
Budget$4.5 million[2]
Box office$6.6 million[3][4]

The Raid 2 (Indonesian: The Raid 2: Berandal, lit. 'thug'; Japanese: ザ・レイド Gokudo, lit. 'gangster'),[5][6][7] also known as The Raid: Retaliation, is a 2014 Indonesian action thriller film written, directed and edited by the Welsh filmmaker Gareth Evans.[8][9][10] Serving as the sequel to The Raid (2011), Iko Uwais reprises his role as the tactical squad member Rama, with Arifin Putra, Oka Antara, Tio Pakusadewo, Alex Abbad, Julie Estelle, Ryuhei Matsuda, Kenichi Endō and Kazuki Kitamura joining in new roles. In the film, Rama is sent undercover to expose the corrupt police officials colluding with the crime families of Jakarta's criminal underworld.

Like Evans' previous films Merantau and The Raid, the fight scenes showcase Indonesian fighting style of pencak silat. The film was released in the United States and Canada by Sony Pictures Classics on 28 March 2014, where it received positive reviews from critics. who praised its cinematrography, visuals, soundtrack and action sequences but criticise the excessive violence

Plot

[edit]

Mob boss Andi is executed by Bejo, a criminal lord, on the orders of corrupt police commissioner, Reza. Andi's brother, police officer Rama brings his injured colleague Bowo and corrupt officer Wahyu to their lieutenant Bunawar. Bunawar informs Rama that he is heading a secret unit investigating police corruption. He sends Bowo away for recovery and kills Wahyu to prevent their investigation from being exposed. Bunawar then recruits Rama to help expose the extent of Reza's operation by placing him undercover. Initially refusing, Rama eventually takes the offer upon learning of Andi's death.

Assuming the alias Yuda, Rama is tasked by Bunawar to infiltrate the Bangun family, the largest crime syndicate in Jakarta which act as peacekeepers between Bejo's growing criminal enterprise and the Japanese Goto family. Rama deliberately places himself in the same prison as Bangun's hot-tempered son, Uco, and gains his favor by saving his life during a violent prison riot. After being released from prison, Uco introduces him to Bangun and Bangun's right-hand man Eka, and begins working for him. Rama assists Uco in a violent extortion of Topan, a local porn producer. Uco later drunkenly expresses frustration at feeling sidelined within his father's organization and violently harasses a prostitute. Rama uses this opportunity to secretly plant a bug in Uco's wallet.

Uco secretly meets with Bejo and agrees to secretly finance Bejo in a war with the Goto family. In gratitude, Bejo rounds up members of the prison riot and allows Uco to kill them. Prakoso, Bangun's eldest enforcer, is recruited to protect the family from Bejo as Uco attempts to convince him to join the war. After dismissing Uco, Prakoso is attacked by Bejo's hitmen and eventually killed by the Assassin, Bejo's top enforcer. Uco attempts to convince Bangun that Prakoso's death was caused by the Goto but he refuses to retaliate. In a meeting between Bangun and Goto, Uco lashes out in anger, embarrassing Bangun into conceding territory. Bangun later beats Uco for disrupting the peace between the two organizations.

Rama escapes an ambush by Reza's corrupt cops and is urgently called to Bangun's office by Eka. Bejo arrives with the Assassin and his henchmen and Uco kills his father and wounds Eka. Rama intervenes, giving Eka the chance to escape, but is subdued by the Assassin and is driven away to be executed. Eka becomes critically injured as he rescues Rama. A dying Eka reveals that he knew Rama was working undercover, proclaimed that he's not a criminal, and asks Rama to take down the entire underworld. Meanwhile, Goto's henchman, Ryuichi, informs Goto of Uco's killing of Bangun and that Reza is meeting Bejo and Uco. Enraged, Goto declares war on Bejo, Uco, and Reza.

Rama calls Bunawar, who instead claims that Eka is a traitor. He also informs him that the commissioner was killed and that a meeting will be held between Reza, Bejo, and Uco at Bejo's restaurant. After being assured that his family is safe, Rama singlehandedly attacks the restaurant, killing all of Bejo's henchmen, including the Assassin.

Uco discovers Rama's bug in his wallet and that Bejo carries the same tattoo as the prison rioters, realizing that he had been set up. Bejo pulls out a shotgun and shoots Rama as he arrived at the meeting. He attempts to throw a gun to Reza but it is intercepted by Uco, who kills Reza and Bejo, who he believes planted the bug. Uco begins firing at Rama but he fatally stabs Uco. As Bunawar makes his way to the restaurant, Rama encounters Goto's men, led by Goto's son Keichi. Keichi smirks as he silently offers a deal to Rama, who definitively declines.

Cast

[edit]
  • Iko Uwais as Rama/Yuda, one of the three surviving police officers of the first film's eponymous raid, and a special forces member turned undercover agent. His alias "Yuda" is a reference to Uwais' character in his debut film Merantau.
  • Arifin Putra as Uco, a vicious, petulant mobster who is the son and heir to Bangun.[11]
  • Oka Antara as Eka, Bangun's consigliere who holds a secret of his own.
  • Tio Pakusadewo as Bangun, a notorious kingpin who is one of the two mob bosses in control of Jakarta's underworld.
  • Alex Abbad as Bejo, a self-made Jakarta crime boss who considers himself very ambitious.
  • Cecep Arif Rahman as "The Assassin", Bejo's top enforcer who uses the karambit as his signature weapon.
  • Julie Estelle as Alicia/"Hammer Girl", Bejo's hitman, a merciless assassin who uses claw hammers as her signature weapon. She is deaf, and later revealed to be missing an eye, the reason she wears sunglasses at all times.
  • Kenichi Endō as Hideaki Goto (Japanese: 後藤英明, Hepburn: Gotō Hideaki), founder and head (oyabun/kumicho) of the Goto family, a powerful yakuza family from Japan and one of the two mob bosses in control of Jakarta's underworld.
  • Ryuhei Matsuda as Keiichi Goto (Japanese: 後藤圭一, Hepburn: Gotō Keiichi), Goto's son and heir.
  • Kazuki Kitamura as Ryuichi (Japanese: 龍一, Hepburn: Ryūichi), Goto's lieutenant[a] and interpreter.
  • Yayan Ruhian as Prakoso, Bangun's most loyal and dedicated hitman. Ruhian previously portrayed Mad Dog in the first film.
  • Very Tri Yulisman [id] as "Baseball Bat Man", Alicia's brother and one of Bejo's top three hitmen.
  • Cok Simbara [id] as Bunawar, the head of the internal investigation unit who recruits Rama to bring down the police–mob collusion.
  • Roy Marten as Reza, a corrupt high-ranking police official affiliated with the Gotos but whom Bejo wants to buy out in his plans for expansion.
  • Epy Kusnandar [id] as Topan, operator of an illegal "porn den" in Bangun's territory, who receives a visit when word gets out he's expanded into the drug business.
  • Zack Lee as Benny, an associate of Uco in prison who betrays his trust.
  • Donny Alamsyah as Andi, Rama's gangster brother who is executed by Bejo.
  • Tegar Satrya [id] as Bowo, Rama's colleague and one of three surviving officers of the first film's eponymous raid.
  • Alain O. as Wahyu, the corrupt lieutenant and one of three surviving officers of the first film's eponymous raid.
  • Marsha Timothy as Dwi, Prakoso's estranged wife.

Other cast members include Henky Solaiman and Fikha Effendi, who reprise their roles as Rama's father and wife, Isa, respectively. Deddy Sutomo and Pong Hardjatmo make cameos as the mediator and police commissioner, respectively. Additionally, Joe Taslim appears in photograph as Sergeant Jaka from the previous film.

Production

[edit]

Development

[edit]

Writer-director Gareth Evans decided to make the sequel after The Raid hit at the box office.[12] He saw it as an opportunity to receive funding for a script he wrote in 2009, Berandal, which he had trouble funding for two years.[12][13] Berandal was originally conceived as a standalone action drama film which incorporates bigger action scenes and according to Evans tells the story of "a young guy who goes into prison, befriends the son of a mob boss, comes out, joins him as an enforcer and then has to survive a gang war".[12][13] After The Raid, Evans began significantly rewriting the Berandal script to connect its storyline with that of the first film; the process included tweaking the protagonist's character motivation and adding a police procedural subplot.[13]

Casting and filming

[edit]

Julie Estelle was cast as "Hammer Girl" in December 2012; Evans also tweeted that internationally renowned silat practitioner Cecep Arif Rahman was also given a major part in the film.[14] Marsha Timothy, Mathias Muchus, Tio Pakusadewo, and Alex Abbad, who worked with Evans in Merantau, were also cast in the film.[14] Japanese actors Matsuda Ryuhei (known for his roles in Taboo and Nana), Kenichi Endō (known for his roles in Crows Zero, Crows Zero 2 and Dead or Alive 2: Birds) and Kitamura Kazuki, known for his roles in Young Thugs: Innocent Blood, Dead or Alive and Ley Lines, but also known for being the only one of the three Japanese actors appeared in Indonesian films, following his appearance in the 2014 film Killers.[15]

Evans also revealed on Twitter that Yayan Ruhian, who played Mad Dog in The Raid, will return for the sequel as a new character called Prakoso,[16] the machete-wielding chief assassin of Bangun. He claimed that he would not do a martial arts film without Ruhian being involved.[17] Ruhian, who is a choreographer of the film, also trained Estelle in pencak silat.[18]

In January 2013, PT Merantau Films and XYZ Films announced the start of production.[19][20][21] The filming process took about seven months and ended in July 2013.[22]

The film's lead cinematographer Matt Flannery tweeted that at least three RED cameras were used in a test shoot of a chase scene.[23][24] Gareth Evans mentioned that they were using RED Scarlet for 95% of the shoot, Epic for slow mo, and Go Pro 3 for quick cuts during the car chase.[25]

Marketing

[edit]

A teaser trailer was released at Twitch Film on 6 November 2013.[26] The Hollywood Reporter stated that the trailer "unleashes more action than most Hollywood blockbusters."[27] A longer Indonesian trailer was released on 31 December 2013.[28] The American trailer was released on 21 January 2014.[29][30][31][32] On 26 March 2014, a deleted scene (given the title "Gang War") was released to promote the film.[33]

International release

[edit]

The film was marketed internationally through Celluloid Nightmares, a partnership between US-based XYZ Films and France's Celluloid Dreams.[34][35]

Sony Pictures Worldwide Acquisitions acquired the film's distribution rights for the United States,[5] Latin America and Spain; and Kadokawa Pictures for Japan.[6] Distribution rights to other countries were sold to eOne Entertainment for Canada and the United Kingdom; Koch Media for Germany, Switzerland and Austria; Calinos Films for Turkey; HGC for China; and Madman Entertainment for Australia.[35][36]

Release

[edit]
A photograph of Iko Uwais taken in New York City during its screening on 14 March 2014
Iko Uwais at the premiere of The Raid 2 in New York City, 17 March 2014

The film had its world premiere at the 2014 Sundance Film Festival on 21 January 2014.[37] It also screened at South by Southwest on 10 March 2014[38] and ARTE Indonesia Arts Festival on 14 March 2014.[39] Following a wide release on 11 April 2014, due to low returns the majority of theaters closed the film one week later. This was similar to what occurred during the theatrical run of the first film.[40]

Censorship

[edit]

The Raid 2 was banned in neighboring Malaysia.[41] The film was scheduled to hit Malaysian screens on 28 March, but had not been shown anywhere in the country due to its excessive violence.[42] Indonesian politician, and former Army Chief of Staff, Pramono Edhie Wibowo criticized the decision and demanded an explanation. He further asked the Indonesian Ministry of Foreign Affairs to "actively perform its mediation function with the Malaysian government."[43]

The US release was given an R rating by the MPAA for "strong bloody violence throughout, sexuality and language",[44] cutting a few frames of graphic violence. Director Evans stated the cuts are very minimal and similar to his original cut.[45][46] The film received an R-15 rating in Japan with 4 minutes cut, and an R-18 uncut version which was screened in the Tokyo metropolitan area.[47]

Reception

[edit]

Box office

[edit]

In Indonesia, the film sold 1,434,272 tickets at the box office in 2014.[48]

Overseas, the film grossed $2,627,209 in the United States and Canada.[49] In Japan, it grossed ¥22 million ($207,655) at the box office.[50] In other overseas territories outside Indonesia, the film grossed $3,939,707,[51] for an overseas total of $6,774,571 outside of Indonesia.

Home media

[edit]

In the United States, the film grossed $4.14 million from physical DVD and Blu-ray sales, as of April 2022.[52] In the United Kingdom, The Raid 2 was 2015's best-selling foreign-language film on home video.[53]

Critical response

[edit]

As of January 2022, the film has an approval rating of 82% on review aggregation website Rotten Tomatoes, based on 175 reviews, with an average rating of 7.50/10. The site's consensus states: "Although its high-energy plot and over-the-top violence may play better with genre aficionados, The Raid 2 definitely delivers more of everything audiences loved about its predecessor."[54] On Metacritic, the film has a weighted average score of 71 out of 100 based on reviews from 34 critics, indicating "generally favorable reviews".[55]

During its world premiere at Sundance, The Raid 2 received an overwhelming reaction. Mark Olsen of the Los Angeles Times reported that "The screening caused an explosion of excitement and enthusiasm for the film on social media."[56]

In a 3-out-of-5 mixed review, Joey Magidson of the website Awards Circuit wrote that he "appreciate(s) the directing skills on display in The Raid 2, but at a certain point, all of the fighting and killing nearly got to be too much for me. I'm recommending the film, but not in the same way as the last one."[57] He added that while it is "creative enough to be worth a recommendation, it lacks the originality of the first flick" and concluded that "The Raid 2 will delight genre fans, but might not impress to[o] many others."[57]

Peter Bradshaw of The Guardian gave the film 4 out of 5 stars and wrote that it "may not have the first Raid's absolute novelty, and the plot is a bit superfluous. But the sheer mayhem-stamina of this followup is really staggering."[58] Henry Barnes of The Guardian gave it 3 out of 5 stars, writing "Out of the tower block and into Jakarta's crime underworld, Gareth Evans's gory sequel is even more violent – you'll thrill despite yourself."[59]

Chris Nashawaty of Entertainment Weekly said, "The Raid 2 will make you feel like Christmas came nine months early. Some action sequels don't know when to say when. But here's one where too much is just the right amount."[60]

Simon Abrams of RogerEbert.com praised the film for its "involving plot"; calling the cast, especially Uwais, "charming" and dialogue "winningly precise" while noting that the sequel is "a great step up after the already-impressive The Raid."[61] Glenn Kenny of RogerEbert.com gave the film 2 out of 4 stars, and wrote "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."[62]

David Rooney of The Hollywood Reporter gave the film a positive review, remarking, "Evans gives the audience a knowing wink by having Rama endure repeated batterings that would leave mere mortals in traction, not to mention some nasty blade wounds. Yet he keeps coming back, finding the stamina to snap more limbs and crush more skulls. Taking place inside moving vehicles, a subway car, a noodle bar, warehouses, a porn factory, tight corridors and in the most electrifying mano-a-mano clash, a gleaming nightclub kitchen and wine cellar, the fights are dynamite."[63]

Rolling Stone chief critic Peter Travers wrote, "The Raid 2 lets its warriors rip for two and a half thrilling hours. With the precision of dance and the punch of a K.O. champion, Evans keeps the action coming like nobody's business."[64]

Amber Wilkinson of The Daily Telegraph commented, "Hyper-violent it may be but there is beauty in its brutality," and wrote, "To say a martial arts movie brings something fresh in terms of choreography may sound like fighting talk, but Gareth Evans's sequel to his 2011 film is endlessly inventive."[65]

Matt Risley of Total Film gave the film 5 stars and wrote: "Sumptuously shot, perfectly paced and flat-out exhilarating, The Raid 2 cements Evans as the best action director working today and may not be the best action, gangster, or even martial-arts movie ever made. But as a combination of all three, it's unparalleled in recent memory and offers a tantalising glimpse into a post-Bayhem action-movie world. Brutal, beautiful and brilliant" and also wrote, "The sheer imagination on show, both in the cinematography and choreography, guarantees each brawl is instantly iconic. Immaculately edited, each traumatic, tensely tactile fight would blur into chaos if not for Evans's pinpoint pacing something that refreshes all the more in the face of modern blockbusting's tendency to start big and just keep getting bigger, until burnout."[66]

Year-end lists

[edit]

The film appeared on several critics' year-end lists.

  • #2 – Peter Freeman of DCOutlook.com's "Top 10 Movies of 2014"[67]
  • #7 – IMDb's "Top 10 Films of 2014"[68]
  • #10 – Drew McWeeny of HitFix's "Top 50 Films of 2014"[69]
  • #10 – DenOfGeek.com's "Top 10 Films of 2014"[70]
  • #14 – Rob Hunter of Film School Rejects' "14 Best Foreign Language Films of 2014"[71]

Accolades

[edit]

The Raid 2 garnered a number of domestic and international award wins and nominations.

On 19 December 2014, it won the award for Best Foreign Language Film from the Florida Film Critics Circle over Sweden's Force Majeure and Poland's Ida;[72] a first for an Indonesian film. It also received two nominations at the 2014 Phoenix Film Critics Society Awards, for Best Stunts, and Best Foreign Language Film;[73] losing the former to Edge of Tomorrow and the latter to Polish film, Ida. Another nomination came from the 2014 Chicago Film Critics Association Awards on the Best Foreign Language Film category, which it lost to Ruben Östlund's Force Majeure from Sweden. For the 8th Houston Film Critics Society Awards, it also received a nomination in the foreign film category, again losing to Force Majeure.

The film received 10 nominations at the local 2014 Maya Awards, organized by online film community Piala Maya. On 20 December 2014, it won four of its ten nominations: Best Cinematography for Matt Flanery and Dimas Subono, Best Editing for Evans and Andi Novianto, Best Special Effects, and Best Supporting Actor for Arifin Putra. It was also nominated for Best Film, Best Original Score, Most Memorable Featured Appearance for Julie Estelle as 'The Hammer Girl' (all three lost to Cahaya dari Timur); Best Hair & Make-Up and Best Sound Mixing (both lost to Killers), as well as another nomination in the Best Supporting Actor category for Oka Antara (who lost to co-star Arifin Putra).[74]

Year Award Category Nominee Result
2014 Golden Trailer Awards Best Foreign Action Trailer The Raid 2 Nominated
2014 Florida Film Critics Circle Best Foreign Language Film Won
2014 Phoenix Film Critics Society Awards Best Foreign Language Film Nominated
Best Stunts Nominated
2014 Chicago Film Critics Association Awards Best Foreign Language Film Nominated
2014 3rd Maya Awards Best Feature Film Nominated
Best Actor in a Supporting Role Arifin Putra Won
Oka Antara Nominated
Arifin C. Noer Award for Memorable Brief Appearance Julie Estelle Nominated
Best Cinematography Dimas Subono
Matt Flanery 		Won
Best Editing Andi Novianto
Gareth Evans 		Won
Best Sound Brandon Proctor
M. Ichsan Rachmaditta 		Nominated
Best Original Score Aria Prayogi
Fajar Yuskemal
Joseph Trapanese 		Nominated
Best Visual Effects Andi Noviandi Won
Best Makeup & Hairstyling Kumalasari Tanara Nominated
Equator Film Expo Award for International Achievement The Raid 2 Won
Best DVD Won
2015 Houston Film Critics Society Awards Best Foreign Language Film Nominated

Cancelled sequel

[edit]

On 6 January 2014, media outlets quoted director Gareth Evans stating that The Raid 3 would take place two hours before the end of The Raid 2.[75][76] On 19 April, during an interview with Metro, director Evans said that he is planning to take a break from martial arts movies for two or three years before filming it.[77][78] On 21 January 2015, Evans responded on Twitter, "The Raid 3 isn't going to be happening anytime soon. Ideas in my head. Nothing written. No set date. 2018/19 possibly."[79]

In a November 2016 interview with Impact, Evans stated the third film was no longer going forward with the franchise likely having ended, stating, "Moving back to UK felt like a closing chapter on that franchise—we ended the story pretty neatly (I feel) in Part 2. I'm aware there's an interest for it [...] So never say never, but it's unlikely to happen anytime soon."[80]

Notes

[edit]

References

[edit]

Sources

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Raid 2

View on Grokipedia
from Grokipedia
The Raid 2, also known as The Raid 2: Berandal, is a 2014 Indonesian action thriller written, directed, and edited by Gareth Evans, serving as a to the 2011 film The Raid. Starring as Rama, a who goes undercover to infiltrate a ruthless crime syndicate and expose linking police officials to the criminal , the film expands the original's confined setting into a sprawling spanning warfare, and political intrigue. With a runtime of 148 minutes, it features extended sequences choreographed by Uwais, emphasizing fighting styles amid graphic violence and vehicular chases. Released internationally on March 28, 2014, after premiering at the in September 2013, The Raid 2 was produced on a of approximately $4.5 million and grossed over $6.5 million worldwide, achieving modest commercial success relative to its low cost while gaining cult status for its technical prowess. Critically acclaimed for its innovative action choreography and narrative ambition, the film holds an 83% approval rating on based on 172 reviews, with praise centered on Evans' ability to blend genre tropes from Japanese yakuza films and American crime epics into a cohesive, high-stakes thriller. Notable achievements include standout fight scenes, such as the mud pit brawl and car escape, which demonstrate practical effects and stunt work over digital enhancements, contributing to its reputation as one of the decade's premier films despite limited mainstream awards recognition. No major controversies surrounded its production or release, though its unrelenting depictions of brutality drew commentary on the genre's escalation of on-screen violence.

Synopsis

Following the brutal raid depicted in the first film, SWAT officer () is coerced into an undercover operation by a shadowy police figure known as "The Kanggan." To safeguard his family from reprisals by entrenched criminal elements, assumes a new identity as a violent criminal, deliberately getting imprisoned to forge connections within the underworld. His objective centers on infiltrating the syndicate led by Bangun, a dominant boss, aiming to dismantle its operations and unmask corrupt officers facilitating the . The narrative broadens the scope from the original's claustrophobic apartment siege to expansive depictions of Jakarta's gang hierarchies, incorporating rival Japanese factions and escalating turf wars. Structured with non-linear flashbacks revealing character origins and alliances, the plot builds through Rama's precarious rise in the criminal ranks, marked by intense physical confrontations and shifting loyalties, culminating in a high-stakes convergence of personal vendettas and institutional betrayal.

Cast

The principal cast of The Raid 2 features Indonesian actors delivering performances centered on physicality and character depth in an action-oriented narrative. stars as Rama, the lead protagonist whose role emphasizes authentic martial arts execution drawn from his expertise in , a style he learned from his grandfather who founded the Tiga Beranti Silat School in 1974.
ActorRoleNotes
UcoPortrays the ambitious son of a mob boss, bringing intensity to a psychologically driven supporting .
Tio PakusadewoBangunDepicts the authoritative crime lord with commanding presence as a key patriarchal figure.
Alicia "Hammer Girl"Embodies a assassin in brutal, weapon-based combat sequences requiring specialized physical training.
PrakosoPlays a skilled assassin and , leveraging his background as a fight choreographer for dynamic action embodiment.
Supporting ensemble includes as Eka, a loyal operative, and as Bejo, a rival , both contributing to the film's layered criminal hierarchy through nuanced portrayals.

Production

Development

Following the 2011 release of The Raid, director Gareth Evans adapted his pre-existing Berandal—originally written in 2009 after the production of —into a that expanded the narrative scope from a confined building assault to a sprawling undercover operation amid Jakarta's criminal underworld. The Berandal script, which Evans had struggled to finance for two years due to its ambitious scale involving prison gangs and mob enforcers inspired by Indonesian dynamics, was initially envisioned as a featuring a young protagonist drawn into a gang war. To integrate it with The Raid's storyline, Evans significantly revised in the period leading up to 2012 production, retrofitting the lead character as —an undercover —and adding procedural elements while retaining core sequences like those involving specialized fighters. This rework, estimated at 30-40% of the original material, sowed connections back to the first film's ending and emphasized themes of institutional corruption within Indonesia's gang hierarchies, drawing on Evans' research into local and cultures for authenticity. The sequel's pre-planning phase prioritized technical escalation, with a budget rising from The Raid's approximately $1 million to $4.5 million, enabling broader location shoots, vehicle action, and ensemble fight choreography to realize Evans' vision of a city-spanning epic. This financial upscaling reflected the intent to push action cinema boundaries beyond the predecessor's single-location constraints, incorporating influences from sequences for visual dynamism.

Casting and training

returned as , drawing on his mastery discovered by director Gareth Evans during a documentary shoot, to handle both lead acting and fight choreography for authentic execution. Core stunt performers from the original film, such as , were retained to preserve technique continuity and enable seamless collaboration in expanded action sequences. New cast members prioritized those with inherent combat proficiency, including Cecep Arif Rahman for specialized roles, ensuring performers could sustain the film's demand for uncompromised physicality over stunt doubles. Actors like underwent selection emphasizing real fighting aptitude to depict gang dynamics credibly amid escalating violence. involved intensive training camps where the drilled collectively for months, fostering control over full-force strikes to minimize injuries while maximizing visceral impact—punches and kicks landed authentically but with restrained velocity. Specific sequences, such as kitchen brawls, required segmented rehearsals over weeks to simulate exhaustion without compromising precision. Key hurdles encompassed synchronizing martial precision with emotional delivery, as Uwais noted the strain of conveying like fatherhood alongside relentless exertion. Casting Indonesian fighters upheld cultural fidelity in portraying Jakarta's criminal milieu, avoiding diluted representations through non-local performers.

Filming

Principal photography for The Raid 2 began in late January 2013 in Jakarta, Indonesia, under director Gareth Evans. The production spanned several months, capturing the film's extended action sequences amid the city's dense urban environment and select rural sites. Filming primarily occurred in Jakarta, where urban chase scenes necessitated securing six major road locations to accommodate vehicle stunts, exceeding the initially targeted three to four. Key interior and fight sequences, including the prison riot and mud brawl, were shot over eight days at Benteng Van Der Wijck, an abandoned Dutch colonial fort in Gombong, Central Java, leveraging its dilapidated structure for authentic grit without extensive set construction. Evans prioritized practical effects and stunt work to maintain visceral realism, employing minimal computer-generated imagery and relying on long, continuous takes choreographed with the cast's pencak silat expertise. Cinematography utilized RED Scarlet cameras for approximately 95% of the footage, RED Epic for slow-motion segments, and GoPro Hero 3 for rapid cuts in the car chase, including innovative rigs where operators dressed as car seats to capture dynamic interior shots from outside vehicles. Logistical hurdles in included navigating Jakarta's traffic and permitting constraints for high-risk , though the team mitigated disruptions by coordinating multiple sites efficiently. On-set challenges featured environmental difficulties, such as the slick mud in the prison sequence that complicated footing and for actors like . Injuries remained mostly minor, with Uwais reporting no severe incidents despite the intensity, attributed to rigorous prior training adherence; semi-serious cases arose occasionally from deviations in protocols.

Post-production

Gareth Evans personally edited The Raid 2 to maintain a kinetic pace amid its expanded narrative scope, drawing on rough cuts assembled during on his laptop to refine action sequences and trim the final runtime to 150 minutes. This hands-on approach allowed Evans to iteratively adjust fight choreography timing and narrative transitions post-filming, ensuring the film's 2.5-hour length balanced expansive storytelling with relentless momentum without exceeding festival and theatrical constraints. Visual effects work focused on subtle enhancements rather than wholesale digital fabrication, integrating practical stunts from sequences like the —achieved through innovative on-location camera passes between vehicles—and the prison mud fight, which required multiple takes for physical authenticity before minimal for blood and environmental cleanup. Evans prioritized practical effects to preserve raw impact, limiting VFX to augmentations such as enhanced impacts and debris in high-risk scenes, avoiding over-reliance on CGI that could dilute the film's grounded realism. Post-production sound integration included early preparation of tracks for broader international accessibility, alongside editing and foley layering by sound designer Aria Prayogi to heighten the visceral quality of combat audio without overshadowing on-set recordings. This dubbing effort facilitated dubbed versions for markets like the U.S., though the primary release emphasized to retain original Indonesian performances.

Music and sound design

The original score for The Raid 2 was composed by in collaboration with Indonesian composers Aria Prayogi and Fajar Yuskemal, released as a 24-track album on April 11, 2014. The score integrates electronic elements with symphonic to heighten tension, featuring pulsing rhythms and atmospheric motifs that underscore the film's settings and combat sequences. Trapanese aimed for a timeless yet modern sound, drawing from his prior work on hybrid scores while adapting to the sequel's expanded scope, which included recording orchestral sessions to amplify intensity without overpowering the action. Key tracks such as "" and "" employ driving percussion and synthesized layers to build urgency, while motifs evoke the gritty criminal hierarchy through dissonant strings and low-end drones. Prayogi and Yuskemal contributed culturally inflected cues, blending traditional Indonesian instrumentation with Trapanese's electronic-symphonic framework to create cohesive audio textures that support the film's pacing. Sound design was handled by Al Nelson and Brandon Proctor, who layered enhanced impacts for punches, blunt weapons, and environmental interactions to emphasize physical realism and visceral force. Supervising sound editor Jonathan Greber oversaw foley and effects integration, ensuring that each strike—such as those from baseball bats or hammers—delivered a tangible, immersive weight through precise mixing and re-recording. This approach, combined with the score, amplified the auditory feedback of choreography, making combat encounters feel immediate and punishing without relying on exaggerated effects.

Release

Premiere and marketing

The Raid 2 premiered at the on January 21, 2014, marking its world debut and generating early buzz for its extended runtime and amplified action set pieces compared to the original film. A teaser sequence had been screened earlier at the in September 2013 during a Midnight Madness event, building anticipation among action enthusiasts. secured North American distribution rights in November 2013 and handled the limited theatrical rollout starting March 28, 2014, targeting urban markets and arthouse theaters to appeal to fans of genre cinema. Promotional campaigns featured trailers released in late 2013 that showcased elaborate fight choreography, including mud pit brawls and car chases, while posters prominently displayed lead actor to leverage his rising stardom from the first installment. Marketing strategies emphasized the film's evolution into a broader crime epic with undercover elements, positioning it as a sophisticated rather than mere violence escalation, though hype centered on the practical stunts and authenticity derived from Indonesian traditions. Festival circuit screenings, including Sundance, facilitated critical previews and word-of-mouth promotion ahead of wider availability.

International distribution

The Raid 2 premiered in its home market of on March 28, 2014, generating strong initial attendance due to the success of the predecessor and local interest in the expanded action sequences. The film was distributed primarily through theatrical releases in , with subsequent rollouts in territories such as on November 22, 2014, where it earned approximately ¥22 million (about $207,000 USD at contemporary exchange rates). These Asian markets emphasized the film's roots, often via local distributors handling subtitles in regional languages to appeal to action enthusiasts familiar with choreography. In , distribution varied by country, with early releases in on March 12, 2014, and staggered openings elsewhere, such as on July 24, 2014, and on July 30, 2014. International versions typically featured English subtitles for broader accessibility, though some markets like the (via Entertainment One) offered optional dubbed audio tracks in local languages to accommodate non-subtitle audiences. Festival circuits, including Sundance's world premiere on January 21, 2014, facilitated early buzz before theatrical paths in select European territories, contrasting with direct wide releases in . Piracy posed significant challenges in , where illegal downloads and physical copies eroded potential revenue shortly after , a systemic issue affecting the local with estimates of substantial losses from unauthorized distribution. Varying release timelines across territories—spanning months—allowed for market-specific but also exposed the film to spoilers and bootlegs via online channels, complicating synchronized global revenue streams. Overall, international theatrical earnings outside contributed to the film's approximate $4.2 million in non-domestic grosses, driven by and .

Censorship and ratings controversies

The film faced a complete ban in upon its intended release on March 28, 2014, with the country's Film Censorship Board (LPF) prohibiting screenings due to the presence of excessive violent scenes deemed unsuitable for public viewing. This decision highlighted regulatory concerns over graphic depictions of combat and brutality, preventing any theatrical distribution despite the film's Indonesian origins and regional popularity. In the United States, the of America (MPAA) required minor trims totaling approximately 4.5 seconds of footage, primarily removing brief instances of gore to secure an R rating, allowing the film to avoid an NC-17 restriction. Director Evans described these alterations as negligible, consisting of only a few frames and emphasizing that they did not substantially compromise the intended visceral impact of the action sequences. Conversely, the (BBFC) approved the uncut version with an 18 certificate, permitting full exhibition without reductions for violence or strong language. These regulatory variances underscored debates on the balance between artistic depiction of physical consequences in and potential perceptions of gratuitous excess, with censors in restrictive jurisdictions prioritizing audience protection from prolonged, realistic portrayals of over the filmmakers' aim to convey authentic kinetic . Evans maintained that such sequences reflected grounded causal outcomes of and rather than , defending minimal concessions only where mandated by classification bodies.

Box office and financial performance

The Raid 2 was produced on an estimated budget of $4.5 million. The film earned $2,627,209 in the , representing about 40% of its total gross, with an opening weekend of $165,292 from seven theaters on March 28, 2014. Internationally, it grossed $3,939,707, including $1,796,027 in the , $554,962 in and CIS, and $495,418 in , leading to a worldwide total of $6,566,916. Distributed by in a limited release model targeting arthouse and action enthusiasts, the film's performance relied on strong word-of-mouth within niche audiences rather than broad commercial appeal, hampered by its , subtitles, and 150-minute runtime. Despite not achieving breakout mainstream success—opening below expectations compared to the first film's expansion—the low production costs relative to earnings indicate profitability for an independent foreign-language action title, recouping approximately 1.46 times its budget at the alone.

Reception

Critical response

The Raid 2 garnered generally positive critical reception, with reviewers highlighting director Gareth Evans' ambitious expansion of the narrative and character ensemble while acknowledging drawbacks in pacing and length. On , the film holds an 83% approval rating from 172 reviews, averaging 7.6/10, reflecting broad acclaim for its genre execution despite varied opinions on its scope. assigns it a score of 71/100 based on 33 critics, signifying generally favorable assessments centered on Evans' visionary escalation from the original's claustrophobic premise. Praise frequently centered on Evans' direction and the deepened ensemble dynamics, which provided richer context for protagonist Rama's undercover journey into Jakarta's criminal underworld. Empire magazine rated it 4/5 stars, lauding the 'astonishing amount of violent action' delivered in 'hearty portions' with an 'unflinching gaze' that sustained engagement across its runtime. Outlets like The Hollywood Reporter echoed this, scoring it 80/100 and appreciating how the sequel's broader canvas amplified the original's intensity without sacrificing core momentum. Genre enthusiasts and action-focused critics, such as those at ScreenCrush, celebrated the film's relentless drive as a benchmark for martial arts sequels, emphasizing Evans' ability to weave personal stakes into escalating conflicts. Conversely, detractors pointed to the 148-minute runtime and intricate plotting as factors that occasionally diluted the taut urgency of The Raid (2011), leading to moments of narrative sprawl. Vulture described it as 'diffuse, ambitious, flawed' in contrast to the first film's 'tight, tough' precision, arguing the added layers risked overwhelming the visceral core. RogerEbert.com awarded 2/4 stars, acknowledging superb technical direction but critiquing the pacing as less effective than its predecessor's real-time propulsion, which better maintained unrelenting pressure. Mainstream reviewers, including some at The A.V. Club, noted the convoluted gangland intrigue introduced 'variety' but subordinated it to carnage, potentially alienating audiences seeking streamlined thrills over epic breadth. These critiques underscored a divide between fans valuing the sequel's depth and those preferring the original's focused ferocity.

Action sequences and technical achievements

The action sequences in The Raid 2 emphasize meticulously planned integrating , an Indonesian martial art, executed by lead performer under director Gareth Evans' guidance. Standout set pieces include the opening yard brawl, a mud-soaked melee amid inmates, an extended combining close-quarters combat and vehicular pursuit, and the final kitchen confrontation utilizing environmental hazards like utensils and steam. These sequences prioritize spatial continuity and rhythmic editing, with top-down shots in the prison fight enhancing the perception of large-scale disorder. Technical execution relies heavily on practical s and minimal CGI, as evidenced in the car chase where cameras were mounted inside vehicles to capture real-time impacts and movements without digital augmentation for primary action. Evans' approach involves pre-visualized blocking and stunt coordination, allowing for fluid that tracks combatants through confined spaces like the , where improvised weapons amplify physical realism. This methodology contrasts with CGI-dependent Hollywood productions, fostering tangible intensity through on-location filming and performer-driven feats. Cinematographic innovations, such as dynamic tracking shots and inventive framing for , established The Raid 2 as a benchmark for post-2014 action filmmaking, influencing trends toward grounded, choreography-centric sequences in films like the series. The film's techniques for shooting car chases and have been analyzed for advancing visual coherence in high-mobility scenarios, reducing reliance on effects.

Themes, narrative, and characterizations

The narrative of The Raid 2 expands the scope from the confined raid of its predecessor to a sprawling undercover operation spanning years in Jakarta's criminal underworld. Rama, having survived the initial raid, reluctantly joins an anti-corruption task force and assumes the alias Yuda to infiltrate the syndicate led by Bangun by first allying with his son Uco during a prison stint. This setup pits individual duty against entrenched gang hierarchies and police complicity, culminating in a gang war fueled by betrayals and power grabs between Bangun's Indonesian faction and a rival Japanese group. The story's causal progression underscores how personal alliances fracture under systemic pressures, with Rama's infiltration exposing the futility of isolated heroism amid pervasive institutional rot. Central characterizations drive the thematic tension between loyalty and ambition. Rama embodies restrained heroism, his arc marked by inner conflict as he sacrifices family stability for a mission that demands moral compromises and constant vigilance in a world where trust is illusory. In contrast, Uco represents unchecked ambition, evolving from a volatile, approval-seeking heir resentful of his father's cautious rule to a paranoid betrayer whose escalating paranoia and alliances with external manipulators like Bejo precipitate the syndicate's collapse. These arcs highlight realistic gang dynamics, where familial bonds yield to self-serving power plays, avoiding idealized portrayals of criminal loyalty. The film interrogates heroism through Rama's futile battle against corruption that permeates both syndicates and , illustrating how individual agency confronts but cannot dismantle causal chains of and rooted in societal decay. Family loyalty serves as Rama's anchor yet exacerbates his isolation, while Uco's trajectory causalizes ambition as a corrosive force that erodes hierarchies from within, leading to chaotic overthrows rather than stable transitions. This eschews sanitized narratives of redemptive institutions, emphasizing imbalances and the personal toll of navigating them, though the expansive subplots occasionally dilute focus on core conflicts.

Violence, realism, and moral critiques

The violence in The Raid 2 is depicted with graphic intensity, featuring prolonged sequences of blunt force trauma, knife wounds, and improvised weapon assaults that emphasize anatomical vulnerabilities such as severed arteries, crushed skulls, and internal hemorrhaging, grounded in the lethal mechanics of martial arts practiced by lead actor . Director Gareth Evans has described this approach as conveying the inherent cost and toll of physical confrontation, distinguishing it from nihilistic excess by tying brutality to character stakes and environmental improvisation. This realism draws from empirical observations of combat dynamics, where strikes align with human physiology—e.g., hammer-like impacts exploiting leverage and to bones—rather than stylized exaggeration, as evidenced by the film's rooted in Uwais' and co-choreographer Yayan Ruhian's silat expertise, which prioritizes efficient, damage-inflicting techniques over theatrical flourishes. Critics have raised concerns that the film's unrelenting gore, including scenes of mud-soaked brawls and car-bound mutilations, risks excess by overwhelming purpose, potentially desensitizing viewers to human through sheer volume of on-screen carnage. For instance, reviewer Kevin McDonough labeled it "the most violent movie ever made," citing exploding heads and gurgling throat slits as gratuitous amplifications that prioritize shock over restraint. Moral critiques from family-oriented guides and rating bodies, such as the MPAA's NC-17 considerations in some markets, highlight risks of glamorizing brutality or eroding in younger audiences, echoing broader debates on media's causal role in normalizing aggression absent contextual mitigation. Counterarguments assert that such depictions enhance realism by mirroring documented outcomes—e.g., silat's focus on vital-point targeting yields the visible, physics-driven injuries shown, like concussive forces propagating through tissue—thereby elevating stakes in a genre often sanitized to evade discomfort, fostering deeper appreciation for violence's consequences rather than numbing through omission. Evans and supporters contend this approach evolves action cinema by rejecting artificial detachment, where understated harm (as in many Hollywood productions) distorts causal understanding of trauma's immediacy and irreversibility, supported by parallels to real training data emphasizing injury patterns from authentic strikes. While some moral perspectives decry the lack of overt anti-violence messaging, proponents view the film's unflinching portrayal—amidst themes of and —as a principled rejection of , prioritizing empirical fidelity to how bodies fail under over politically motivated moderation.

Accolades and recognition

The Raid 2 earned recognition primarily in genre and technical categories, with 11 wins and 17 nominations across various international and regional awards bodies. At the 9th held on March 25, 2015, in , the film won Best Editing for director Gareth Evans, who shared credit with Andi Novianto. It received nominations in that ceremony for Best Cinematography (Matt Flannery and Dimas Subono) and Best Action Choreography. In , the 3rd Maya Awards—organized by the online film community Piala Maya—presented the film with six wins out of 12 nominations in 2014, including Best Special Effects and Best Editing. Additional nominations encompassed Best Cinematography, Best Sound, Best Makeup and Hairstyling, and others highlighting its production values. The film garnered nominations from U.S.-based critics' groups, such as Best Foreign Language Film from the and Phoenix Film Critics Society in 2014. These honors underscored the film's innovative action sequences and craftsmanship, aiding in elevating the profiles of director Gareth Evans and lead actor on the global stage while spotlighting Indonesian silat techniques in cinema.

Cultural impact and influence

Elevation of Indonesian cinema

The international success of The Raid 2, following its predecessor's breakthrough, marked a pivotal moment in transitioning Indonesian cinema from regional obscurity to global niche acclaim, particularly in the action genre. Premiering to positive reception at major festivals and achieving distribution in over 50 countries, the film highlighted martial arts and raw storytelling rooted in local contexts, drawing attention to untapped Indonesian talent beyond horror and staples. This visibility established a precedent for subsequent local productions aspiring to international standards, such as (2016) and (2018), which built on similar visceral action aesthetics while gaining streaming platform exposure. By depicting Jakarta's criminal —encompassing gang hierarchies, riots, and —the film offered an unvarnished export of Indonesia's socio-economic realities, diverging from tourist-oriented narratives of idyllic islands and fostering a more nuanced global perception of the nation's urban complexity. This authentic portrayal, grounded in real Indonesian gang culture (berandal), challenged reductive stereotypes and underscored the potential for culturally specific content to resonate universally without sanitization. Although domestic box office returns remained modest compared to genre peers, the film's profile spurred ancillary industry momentum, including career advancements for actors like that looped back into local projects and heightened foreign interest in co-productions. This contributed to broader sector growth, with national film admissions rising from 5.5 million in 2014 to 22.7 million by 2019, amid easing foreign investment barriers and a diversifying investor pool. Direct economic spillovers like film-induced tied to The Raid 2's locations were negligible, given its focus on gritty, non-scenic settings, but the elevated visibility indirectly supported creative economy expansion through talent retention and genre diversification.

Innovations in action filmmaking

The Raid 2 advanced action filmmaking through its integration of extended long-take sequences that emphasized continuous, unedited combat, a technique choreographed over months to capture authentic fighter movements without frequent cuts. This approach, evident in sequences like the prison mud fight and kitchen brawl, prioritized spatial awareness and performer endurance over rapid editing, allowing audiences to appreciate the physicality and tactical decisions in real time. A hallmark innovation was the hybrid blending high-speed vehicle pursuits with close-quarters , as seen in the film's extended where combatants engage in hand-to-hand fighting amid crashing vehicles and narrow escapes. This fusion required precise coordination of stunts, camera passes between moving cars, and minimal digital augmentation, relying instead on practical rigs and performer to heighten tension and realism. Such challenged the era's reliance on segmented action, demonstrating how vehicular dynamics could amplify rather than dilute fight . The film's commitment to practical effects over CGI dominance showcased diverse body types among performers—real martial artists of varying physiques, including bulky enforcers and agile specialists—contrasting with Hollywood's trend toward digitally enhanced, uniform aesthetics. This grounded approach, involving on-location shoots and minimal trickery, influenced a pivot in the genre toward tactile, performer-driven spectacle, as analyzed in subsequent critiques of action cinema. These elements directly inspired later franchises, with creators citing The Raid 2's relentless, choreography-focused style as a blueprint for their gun-fu hybrids and long-take gunfights, marking the film as a 2014 pivot point for elevating practical stuntwork in global action narratives.

Sequel developments

Following the release of The Raid 2 in 2014, director Gareth Evans developed an initial concept for The Raid 3 positioned mere minutes after the events of the sequel, focusing on continuing the narrative thread involving protagonist (). However, Evans abandoned this approach as over a decade elapsed without production, citing the impracticality of maintaining continuity and his reluctance to raise false expectations among fans, stating, "I don’t wanna f*ck around with the fan base and promise something that I can’t deliver." In 2025, Evans indicated renewed interest in a third installment after reuniting with Uwais for the first time in seven years, following pandemic-related separations, which resurfaced memories of the original productions. He revealed a distinct new concept for The Raid 3, separate from the prior idea, though he emphasized no immediate development or commitment, noting it remains "definitely on my mind and could be something that we revisit" further down the line after his current projects. Evans has entered pre-production on an unrelated film slated for summer shooting, with any potential Raid follow-up contingent on feasibility and collaboration opportunities with Uwais.

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