The Raid 3: Final Ascent (2026)
Iko Uwais is Rama: a one-man apocalypse ascending Jakarta’s gleaming skyscraper of sin, floor by floor, body by body. Gareth Evans straps the camera to the carnage—one-take stairwell slaughters, machete symphonies in glass lobbies, rooftop rain turning blood into neon graffiti. No tenements this time; it’s corporate cathedrals where every elevator dings like a guillotine.
New nightmares: a silat giant who bends steel with bare hands, twin killers dancing death with garrote wire, a final boss whose smirk hides a soul-shredder. The plot? A whisper—syndicate’s last god atop the spire—but the choreography sings. Fists piston, knees carve, bones snap like cheap locks. Mad Dog’s spirit haunts every strike.
No speeches, no mercy—just ascent. Rama ends atop the city, rain-soaked, skyline dying below, still hunting. The trilogy closes with a heartbeat and a bootstep. Brutal poetry.
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