Film
The Night Comes For Us
A Triad enforcer spares a child during a massacre and spends the rest of the film paying for that one flicker of conscience, as an army of increasingly deranged killers comes for him. It's Indonesian action cinema turned up past the red line — bones snap audibly, hallways become abattoirs — directed with the gleeful, punishing rigor of a stunt team that clearly loves its work. Not for the squeamish, essential for action purists.
If you liked this
The Raid 22014
Same star, same Indonesian stunt lineage, same appetite for turning corridors and cars into killing floors. It's longer, more sprawling, and even more inventive with its violence than the film that made Iko Uwais a name.
But Nearly two and a half hours of escalating brutality with a crime-saga plot that sometimes gets in its own way.

The Raid2012
The film that started this whole bloodline. One building, one night, relentless pencak silat choreography that still hasn't been topped for sheer clarity and ferocity.
But Thin on story by design — it's a siege movie, not a character study, and some will want more meat on the bone.

John Wick2014
If you want the Western cousin — same obsession with clean, brutal choreography and a hero who can't stop killing his way home, wrapped in neon and grief instead of Jakarta grit.
But Slicker and more stylised; the violence is precise gunplay rather than the bone-crunching close-quarters chaos this film specialises in.

The wildcard
Something you would not have found on your own.
Gangs of London2020
Gareth Evans, the architect of the Indonesian action renaissance this film belongs to, co-created this series — same fight logic, stretched into television.
A British crime series co-created by Gareth Evans himself, bringing the same brutal, bone-real fight choreography to a sprawling gang-war saga about loyalty, succession and violence as inheritance.
But Nine episodes means slower plotting and more soap-opera scheming between the action set pieces than you might want.

More like this (8)
Triple Threat2019
A reunion of sorts — Iko Uwais, Joe Taslim and Sunny Pang all show up again, this time on opposing sides of a mercenary shootout. Pure genre-fan catnip.
But Budget and script are noticeably thinner; it coasts almost entirely on its cast's chemistry and fight pedigree.

Headshot2016no page yet
Another Uwais vehicle, another amnesiac-assassin plot that exists mainly to string together vicious, inventive fight sequences with the same unblinking physicality.
But The story is functional at best — you're here for the violence, and it knows it.
Kill Bill: Vol. 12003
Tarantino's operatic revenge saga shares the DNA of betrayal, loyalty and a protagonist who has to fight through an army to reach one person. Gorgeously excessive.
But More stylised pastiche than gritty realism — if you want grounded brutality, this one's playing a different, campier game.

Ip Man2008no page yet
Donnie Yen's breakout gives you the martial-arts discipline and moral clarity underneath all the chaos — a hero who fights because he has to, not because he wants to.
But Considerably more restrained and heroic in tone; the violence here has none of the queasy, gleeful excess you just watched.
Hardcore Henry2015no page yet
A first-person action film shot like one long GoPro nightmare — if it's the sheer physical intensity and inventive brutality you loved, this cranks that dial even further.
But The gimmick can induce motion sickness, and the plot is barely a wrapper for the action.
Mortal Kombat2021no page yet
Joe Taslim and Iko Uwais both show up again, this time in a big, silly, gore-happy video game adaptation that leans hard into the exact kind of over-the-top carnage you clearly enjoy.
But Broad, cartoonish fan service rather than the disciplined choreography of the Indonesian films — fun, but a different, dumber pleasure.
Lady Snowblood1973
Same bloodline of vengeance-driven assassin cinema, but decades earlier and in a completely different register — elegant where this film is savage.
A Japanese revenge classic about a woman raised for one purpose — killing the men who wronged her mother — shot with icy, formal beauty. This is the ancestor Tarantino stole from for Kill Bill.
But Deliberately paced and theatrical rather than kinetic; the violence is stylised and painterly, not the chaotic scramble you just watched.

A Touch of Sin2013no page yet
Same interest in violence as consequence rather than choreography — the sober, art-house mirror to the balletic carnage you've just watched.
Jia Zhangke's art-house drama follows four ordinary people pushed to sudden, shocking violence by economic despair. It asks what this film never stops to — what violence actually costs the people who commit it.
But Slow, contemplative and largely dialogue-driven; anyone expecting choreography or spectacle will find this a wholly different, quieter animal.
People
Cast
Joe TaslimIto
Iko UwaisArian
Julie EstelleThe Operator
Sunny PangChien Wu
Abimana AryasatyaFatih
Zack Lee'White Boy' Bobby
RevaldoYohan
Dimas AnggaraWisnu
Salvita DecorteShinta
Dian SastrowardoyoAlma the 5th Lotus
Hannah Al RashidElena the 3rd Lotus
Directing
- Timo TjahjantoDirector
Writing
- Timo TjahjantoScreenplay
Production
- Jonathan SatyabudiAssociate Producer
- Tifanie JodehAttorney
- Ikhsan SamiajiCasting Coordinator
- John RadelCo-Producer
- Aram TertzakianExecutive Producer
- Nate BolotinExecutive Producer
- Kimo StamboelProducer
- Mike WiluanProducer
- Nick SpicerProducer
- Sukhdev SinghProducer
- Timo TjahjantoProducer
- Wicky V. OlindoProducer
- Ava SorayaProduction Accountant
- Todd BrownProduction Executive