Few action films in the last two decades have made an impact as immediate and explosive as The Raid (2011), an Indonesian action thriller written, directed, and edited by Gareth Evans. What begins as a seemingly straightforward police operation quickly transforms into one of the most intense, brutally efficient, and unforgettable action experiences in modern cinema. With its razor-sharp pacing, innovative fight choreography, and claustrophobic setting, The Raid doesn’t just entertain—it redefines what a low-budget action film can achieve when guided by vision, discipline, and raw talent.
The story centers on an elite police squad assigned to infiltrate a dilapidated high-rise apartment building hidden deep within the slums of Jakarta. The building is controlled by Tama Riyadi, a ruthless drug lord who has turned the complex into a fortress for criminals, offering free housing in exchange for loyalty and protection. The mission is simple in theory: breach the building, arrest Tama, and extract the team safely. In practice, it becomes a nightmare.
Among the squad is Rama (played by Iko Uwais), a quiet but highly skilled officer whose personal motivations subtly add emotional depth to the mission. While the film never dwells too long on character backstories, Rama’s presence provides a human anchor amid the escalating chaos. As the operation quickly goes wrong, the team finds themselves trapped inside the building, surrounded on all sides by armed criminals. What follows is a relentless, floor-by-floor fight for survival.
What truly sets The Raid apart is its extraordinary action choreography. The film showcases pencak silat, a traditional Indonesian martial art, with a level of authenticity and intensity rarely seen in mainstream action films. Rather than relying on quick cuts and shaky camera work to fake impact, Evans allows the camera to stay close and steady, letting the audience fully absorb every strike, throw, and bone-crunching blow. The result is action that feels visceral, grounded, and painfully real.
Iko Uwais delivers a star-making performance as Rama. His physicality, speed, and precision are mesmerizing to watch, and his calm, focused screen presence makes him a perfect action protagonist. Equally impressive is Yayan Ruhian, who plays one of the film’s most memorable antagonists. Their confrontations are not just fights—they are carefully constructed duels that blend athleticism, brutality, and storytelling through movement.
The film’s setting is another major strength. The decaying high-rise building becomes a character in itself. Narrow hallways, cramped apartments, dark stairwells, and exposed concrete corridors create a constant sense of claustrophobia. There is no room to breathe, no safe space to retreat. The environment forces the characters—and the audience—into a state of continuous tension. Every corner feels dangerous. Every door could hide an ambush.
Gareth Evans’ direction is remarkably confident, especially considering the film’s modest budget. His editing is tight and purposeful, never wasting a moment. The pacing is relentless but controlled, gradually escalating the intensity as the squad loses members and resources. The film rarely slows down, yet it never feels rushed. Each action sequence is carefully designed to raise the stakes, pushing the characters closer to exhaustion and desperation.
Following its world premiere at the Toronto International Film Festival (TIFF), The Raid quickly gained international attention and critical acclaim. Critics and audiences alike praised its raw energy, innovative fight choreography, and stripped-down storytelling. In the United States, the film was released under the title The Raid: Redemption due to rights issues, but the change did little to affect its growing reputation as a modern action classic.
The U.S. version also featured a new score by Mike Shinoda and Joseph Trapanese, adding a more industrial, high-energy musical layer that complemented the film’s intense atmosphere. While some purists prefer the original score, the updated soundtrack helped the film connect with Western audiences and further cement its cult status.
The success of The Raid led to the ambitious sequel, The Raid 2 (2014), which expanded the story into a larger crime epic. While very different in structure and tone, the sequel proved that Evans and Uwais were not one-hit wonders. Although a third installment was discussed, Evans ultimately chose not to continue the series, making the two films a complete and highly respected duology.
In the end, The Raid stands as a landmark achievement in action filmmaking. It proves that great action does not require massive budgets, A-list stars, or excessive CGI. What it does require is clear vision, disciplined choreography, and a deep respect for physical storytelling. For fans of action cinema, martial arts films, or simply intense, no-nonsense thrillers, The Raid is not just recommended—it is essential viewing.
Brutal, beautiful, and relentlessly thrilling, The Raid remains a benchmark by which modern action films are still measured.