The Night Comes for Us

Boucherie de combattant. L'intrigue est juste une excuse pour placer les marionnettes dans des bagarres. Et d'autres marionnettes (et marionnettes) dans d'autres bagarres encore. Le drame relationnel sur l'amitié et la trahison fonctionne ici comme un coup de couteau dans le ventre - le couteau est retiré avec un visage déformé et cinq minutes plus tard, dans une autre bagarre, on ne sait plus rien de lui. Par exemple, The Raid 2 était esthétiquement composé, les couleurs y jouaient un grand rôle. De même John Wick 2. Celles-ci sont juste des abattoirs sales et gris avec des morceaux de "gore" délicats. Et je les ai vraiment appréciés, mais cela ne suffit pas pour une évaluation plus élevée. (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)

Un film d’action sanglant made in Indonesia regorgeant de fusillades, de coups de couteau, de découpe, hachage, broyage, étripage… le tout sous forme de rudes affrontements magnifiquement chorégraphiés et à vous faire tomber les bras. La direction dynamique est truffée de petits joyaux et divertit du début à la fin. Je ne sais pas quoi dire de plus. En gros, c’est un must – un must absolu pour les fans de The Raid 1 et 2 ! [Sitges 2018] (07/10/2018)

Ce thriller d'action issu de l'environnement des gangs les plus coriaces de la pègre asiatique se situe à la frontière entre le plaisir sanglant et la cruauté désagréablement violente, lorsque des fusillades d'action imaginatives et techniquement parfaites et des combats de contact agrémentés de trucages, de maquillage et de chorégraphie se transforment en une attraction alléchante pour les endurcis, dans une démonstration extrêmement brutale de mutilation. À cet égard, il n'est récemment comparable qu'à The Raid 2, mais il va un peu plus loin (le réalisateur a été officiellement autorisé à s'affranchir de la chaîne de Netflix, qu'il utilisait royalement). Dans la première moitié, l'histoire est un désordre légèrement chaotique de personnages mourants continuellement, se battant les uns contre les autres des deux côtés de la barricade, courant ici et là et se faisant mettre au sol de diverses manières, au point que le spectateur se désintéresse des héros, cesse de se soucier de la fin du film et attend avec impatience le prochain événement. Heureusement, cela s'installe dans la seconde moitié, les camps en présence sont clairement définis, et le reste est un découpage fiévreux avec des passages d'action physiquement intenses, qui, bien que peu nombreux, sont longs et denses comme l'enfer. (06/10/2018)