Two years ago, Gareth Evans’ The Raid exploded through cinema screens, delivering a brutal, balletic, blood-spattering roundhouse kick to all other martial arts films, leaving them battered, broken and defeated. With a daring economy of plot, the stunning direction displayed bothlaser focus and artful flair, allowing the intricate choreography to deliver graphic gore and dancerly dexterity all at once. When talk inevitably turned to a sequel, the question arose: how do you repeat a genre-defining film – and should you try?

Star Iko Uwais reprises his role as undercover Jakarta cop Rama, who infiltrates the highest levels of the criminal underworld, becoming embroiled in a darkly-layered world of shady deals, familial betrayals and vicious killers.

The serpentine plot contortions are cleverly complex, reminiscent of Internal Affairs or The Departed – but they’re also the film’s biggest problem. Contrasting with the original’s building-ascending,video-game simplicity, The Raid 2’s mounting machinations make for a less authentic delivery system for its relentless fight sequences. One building full of martial arts experts willing to attack Rama one-by-one is easy enough to swallow, but Evans is insisting we try to choke down a whole city.

But dammit, the violence is delicious! Adorned with a beautiful, Refn-like production design, the increasingly elaborate fights offer unparalleled chase and fight choreography, spanning mud-covered courtyards, multi-levelled nightclubs, speeding cars and train carriages. The breathtaking, bone-crunching, back-breaking violence is expertly shot. As the incomparable Uwais treats martial arts like a Rubik’s Cube of twisting, clicking, submitting limbs, Evans frames each of his moves like they’re masterpieces.

An exercise in impressive overkill.