Roger Ebert’s Surprising One-Star Verdict on The Raid: Redemption

Roger Ebert, never one to shy away from a blunt opinion, left many scratching their heads when he handed out a solitary star to The Raid: Redemption. Released in 2012, Gareth Evans’ Indonesian action thriller quickly became a cult favourite, celebrated for its relentless pace and bone-crunching fight choreography. Yet, Ebert’s take was anything but glowing.

He dismissed the film’s approach, writing,

“They [the audience] require no dialogue, no plot, no characters, no humanity.”

For Ebert, the characters were little more than “ruthless fighters without a brain in their heads.”

Dissecting Ebert’s Critique

It’s fair to say Ebert’s review split opinion. While he argued the film lacked substance, many viewers found themselves gripped by the sheer intensity of the action. The opening scenes, with a SWAT team storming a grim tower block, set the tone for a film that rarely lets up. But as the violence escalated—children acting as lookouts, a child shot, bodies piling up—the sense of hope and humanity drained away, culminating in the death of Commander Jaka.

Ebert also took issue with the film’s title, questioning the notion of ‘redemption’. He saw little evidence of it on screen. Yet, for some, the redemption belonged to Rama, played by Iko Uwais. There’s a moment of genuine regret as Rama is forced to kill, and by the end, he chooses to spare his brother, returning home to his family rather than seeking further vengeance.

Action Over Plot? A Matter of Perspective

One of Ebert’s main gripes was the choreography, which he felt was staged to favour the protagonist. In truth, that’s the nature of the genre. What set The Raid apart wasn’t narrative complexity, but the way it was filmed. Evans ditched the jittery, disorienting camera work that plagued so many action films of the 2000s, opting instead for sweeping shots and dynamic movement that showcased the skill of the performers.

It’s a film that wears its heart on its sleeve—brutal, direct, and unashamedly focused on physical spectacle. Whether that’s a flaw or a strength depends on your taste. Ebert’s perspective wasn’t entirely off the mark, but it certainly didn’t capture the film’s appeal for many fans.

The Raid’s Lasting Impact on Action Cinema

Before The Raid, Hollywood action was dominated by quick cuts and shaky cameras, a style popularised by films like Taken. The Raid’s clarity and commitment to showing every punch and kick in full view was a breath of fresh air. Evans’ use of wide shots and whip pans allowed audiences to appreciate the choreography, rather than hiding it behind frantic editing.

This approach didn’t go unnoticed. When John Wick arrived a couple of years later, director Chad Stahelski borrowed heavily from The Raid’s playbook. Gone were the days of obscured action; instead, viewers were treated to meticulously staged fights, steady camerawork, and a focus on martial arts. The Raid introduced the world to Pencak Silat, while John Wick blended in Judo and Jiu-Jitsu, creating a new standard for cinematic combat.

There’s even a direct link between the two: Yayan Ruhian and Cecep Arif Rahman, both veterans of The Raid, appeared as formidable adversaries in John Wick: Chapter 3 – Parabellum. Their showdown with Keanu Reeves’ character was a highlight, and a subtle nod to the influence The Raid had on the genre.

Whether you side with Ebert or the legions of action fans, The Raid: Redemption’s legacy is hard to ignore. Its impact on the way action is filmed and choreographed continues to be felt, and the debate over its merits shows no sign of fading away.