The Raid: Redemption. Watch the full movie, online. 4.5 / 5 stars 87% 86%. 2012 101 min R Drama, Mystery/Crime, Action/Adventure Feature Film. Link your DIRECTV account to Movies Anywhere to enjoy your digital collection in one place. 4.5 / 5 stars 87% 86%. The Raid: Redemption. I'm an action movie junkie, easily one of the best action movies to come out in the last 20 years. The fact they did this on a 1 million dollar budget makes this movie even more impressive. Some of the death scenes are just imaginative and amazing, do yourself a favor and watch this and then the sequel Raid 2 if you. Download The Raid 2 2014 Full 720p HD Movie Free High Speed Download. SD Movies Point.The Raid: Redemption (2011) - IMDbThe Raid: Redemption. Track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!. Audio Books.The Raid 2 JYK subtitlessubtitle The Raid 2 2014 720p BluRay x264 Dual Audio. Watch The Raid 2011 full movie, online 123Movies Go123Movies. Deep in the heart of Jakarta's slums lies an impenetrable safe house for the world's most dangerous killers and gangsters. Until now, the run-down apartment block has been considered untouchable to even the bravest of police. Cloaked under the cover of pre-dawn darkness and silence, an elite swat team is tasked with raiding the safe. RAID and Standard RAID levels (RAID 0,RAID 1, RAID 2, RAID 3, RAID 4, RAID 5, RAID 6, RAID 10) in Operating System.

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If there’s a better director of action in the world than Gareth Evans, Hollywood isn’t showing us his films. With his breakthrough 2011 film The Raid: Redemption, Welsh-born Evans introduced Indonesia as a hub of ass-kicking action, telling the story of a police officer who must literally fight his way out of a building filled to overflowing with the most vicious, deadly thugs imaginable. Sony Pictures Classics bankrolled a follow-up, The Raid 2, in which the first film’s survivor goes undercover to infiltrate the criminal underworld, and Evans makes an even bigger splash the second time around, this time creating a web of intrigue, shifting alliances and breathtaking action that seems unlikely to be surpassed in the U.S., probably as much because of legal limitations as creative ones.
Evans recently sat down with Spinoff Online to discuss the challenges of creating The Raid 2, which unfolds with a machine-like precision that sets up all of the characters and story, and then allows the action to enhance both. In addition to talking about finding new ways to beat people up, he revealed his philosophies about creating and depicting violence, and reflected on the influences and inspirations that led him to build this intricate, riveting adventure.
Spinoff Online: When it comes to creating characters and staging fights, do you know of any instrument or object in the world that has not been used as a weapon in one of these movies at this point?
Gareth Evans: Well for a while I thought I’d seen everything, and then I watched The Yellow Sea. And they used the fucking dog’s thighbone. I was like, “shapoopy, okay, that’s one thing down.” I really don’t know what’s left anymore.
Well, to speak specifically about like a character with weapons, like Hammer Girl. Like if that was kind of informed by this desire to do something again with harimau, which is what we used in Merantau, the first film. Harimau was like tiger style, so you’re using the palm of your hand to strike and then your fingers to either claw or grab and pull, or drag. And with Hammer Girl, we wanted to find a weapon that was going to be able to allow us to do that harimau style. And then when you look at it, there’s only one weapon you can use, it’s a claw hammer – use the flat part to hit and then the claw to drag and stab. So it was like, okay, we can use that hammer and we can do that weapon work, but it still feels like it’s part of the choreography. Then that allows us to kind of go off in these little flights of fancy then. We can kind of start to create these little creative kills here and there, and it’s not an overly aggressive thought process. It’s more literally like, well, where would she hit? What would she do? If a guy comes up to her, it was like, okay, well if she stabs him in the arm, it’s stuck there. What’s she going to do? She can pull him in and then drag his body down and create the momentum and then [hit him] in the face. It’s not about, ah, how do I get her to hit this guy in the mouth? How do I get her to smash this guy’s skull? It’s more about what’s the movement, and what’s it dictate. Where is the target being dictated by the movement, as opposed to the target dictating the movement. And so sometimes those punch lines, we call them punch lines where it’s like a slightly extreme moment, we try to pace them out. So we try to have it so that you have one and you have a break for a couple of people, and then you have another one and break for a couple of people. And the whole reason is to not to just do this overkill thing where it’s just punch line, punch line, punch line, because people just get bored of it and they have enough.

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