The Night Comes for Us

Brigas sangrentas. O enredo aqui é apenas uma desculpa para colocar bonecos nas pancadas. E mais bonecos (e bonecas) em ainda mais pancadas. O drama da relação sobre amizade e traição funciona tão bem aqui como uma facada no estômago — a faca é retirada com uma cara deformada de dor e cinco minutos depois, na próxima pancada, não se sabe dela. The Raid - Redenção, por exemplo, teve uma composição esteticamente agradável, com as cores a desempenharem um grande papel. O mesmo com John Wick 2. Isto é apenas uma carnificina suja e cinzenta, com delicados estilhaços gore. E gostei imensamente deles, mas não o suficiente para uma classificação mais elevada. (30/10/2018)

The first twenty minutes are like torture and a test of your patience, because Tjahjanto tries to build something like a fateful plot and relationships between the characters. But not a single, even average actor, acts in this movie, and the author himself is a completely hopeless screenwriter. So, you're just waiting for him to finally realize what kind of experienced street-fighter he has in his cast (it's like having Messi available for a football match and instead of letting him on the field, you're dealing with dolphin extinction on the bench) and he finds a damn excuse, so that they can hit each other hard. And as soon as he finds the excuse by entering the butcher shop, you know what is going on. Yes, the style of action is like Raid 1.5. No, Tjahjanto is not Gareth Evans, but he copies the action from him skillfully. Contact battles alternate with mass massacres with the machete, including some shootout, a chase ... Every now and then, it's a different type of event. There are three connecting elements; playful raw choreography (all tribute to the performance of stuntmen), dynamic yet well-arranged camera and absolute adoration of senselessly excessive unjustified gore-slaughterhouse violence, which not everyone can take. Especially when it is true that the plot / dialogs / tensions between the characters (they appear out of nowhere and disappear somewhere) are purely for the form, as the author read somewhere that every movie should have such elements. I advise you well, jump right the butcher shop scene and after about ten minutes it will suddenly be clear to you whether you have discovered your new guilty pleasure cult or if just can´t understand “what kind of perverted sadistic beasts the Indonesians are" and you turn it off in disgust. But before you turn it off, at least watch the final ten-minute battle of Taslim versus Uwais; it is pure genre joy. (08/01/2019)

For the first time without his brother, Timo Tjahjanto delivers another action gem that will definitely put a smile on your face, and as it works perfectly as a replacement for the cancelled The Raid 3. It's worth noting that Timo made his name with the horror film Macabre (still one of the most brutal exploitation films ever) so the primary fiddle is played by gore and violence, which is abundant here, and I really like his approach to the genre because he is one of the few to push the boundaries, show things that are taboo and shy away from absolutely nothing. That fascinates me because Americans can be quietly envious. Acting wise the film is top notch, it brings together a familiar cast, but it took me a little to get used to Iko Uwais being a villain, but thankfully Joe Taslim has charisma to spare, but surprisingly Julie Estelle shines the most, she immediately needs her own solo outing. The action hardly takes its foot off the gas it's one ultra brutal carnage where everyone is slashing with whatever is at hand, limbs are broken in all sorts of ways and multiple fighting styles are used. Tjahjanto revels in lethal destruction and I go crazy right along with him. The biggest highlight is definitely Julie Estelle versus two lesbians, and I don't think there has been a better female fight, and of course the finale, which takes the best of The Raid 2, and Joe Taslim versus Uwais as a battle of brothers was quite emotional, and of course the choreography can't be faulted. Not just to praise, there are of course some issues. I found the visuals rather average, at times I felt the characters were surviving the impossible and I was a little disappointed that there was no new action discovery. But these are irrelevant little things that didn't spoil the experience for me. Anyone who likes confident action, uncompromising and brutal films will be satisfied. Those who slept through Steven Seagal, Dolph Lundgren and Jean-Claude Van Damme will probably grumble. An action fan can't go below 3* here. I'm looking forward to May the Devil Take You and hope that in the years to come the Mo Brothers will continue to satisfy me, because there aren't that many smart filmmakers out there right now. 90% (20/10/2018)

Slaughter filmed in a highly cultivated style. The story is just chaotic filler between action scenes full of raw meat, bones and blood. The characters have strange motivations and frequently behave illogically, but that doesn’t really matter too much. Friends from The Raid simply had a bit of fun together and give us several unforgettable fight scenes and painful moments served on a silver platter. Uwais seems to quite enjoy his unconventional role, but his performance is more or less standard. Julie Estelle reserved for herself the best fight involving two lesbian killers. Girl power! (29/04/2019)

A brutal splatter romp, with a story, so to speak, about a hitman who rethinks his priorities at the last minute and doesn't shoot a little girl, then goes on to kills dozens of punks to protect her. It's an impressive fighting game, unspoiled by the traditionally extremely fast-paced Asian action full of incredible stunts. But unlike The Raid 2, which it wants so much to resemble, it doesn't have the epic breadth of plot or the refined visual aesthetic. All that's left is a similar brawler, with a poorer plot but a hell of a style and finally more space for Julie Estelle. (05/02/2019)

A bloody action flick from Indonesia with shooting, stabbing, cutting, chopping, breaking and beating aplenty – all happening as a truly sublime and jaw-dropping choreography of rough fights. The pacey direction is full of little gems and entertains from start to finish. I don’t know what else to say. In short, it’s a must see – an absolute must for The Raid 1 and 2 fans. [Sitges 2018] (07/10/2018)

Este thriller de ação dos gangues mais duros do submundo asiático, na linha entre a diversão sangrenta e a crueldade desconfortavelmente violenta, onde tiroteios de ação imaginativos e tecnicamente perfeitos e combates de contacto com truques, maquilhagem e coreografias bem-feitos se transformam de uma atração picante para o público exigente num espetáculo de mutilação extremamente brutal. A este respeito, talvez só seja comparável nos últimos tempos a The Raid - Redenção, mas vai um pouco mais longe (o diretor foi oficialmente autorizado pela Netflix a libertar-se absolutamente, do que se aproveitou ricamente). A história na primeira metade é uma confusão um pouco caótica de personagens que morrem continuamente, lutando entre si em dois lados da barricada, mudando entre eles aqui e ali e batendo um no outro, ao ponto de o espetador perder o interesse pelos heróis, deixar de se preocupar com a conclusão do filme, e ficar ansioso à espera da próxima ação. Felizmente, isto instala-se na segunda metade, definindo claramente quem está contra quem, e o resto é uma rixa frenética com passagens de ação fisicamente intensa que, embora não sejam particularmente numerosas, são longas e infernalmente densas. (06/10/2018)