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A CMOA for The Assassin as well, who becomes the first character in both films to win a fight against Rama. Rama comes to Eka's aid when he fails, giving Eka the opportunity to escape and rescue him after his brief fight with The Assassin. Eka barely hesitates to gun down Uco, the son of the employer he is very loyal to, (mostly) when he witnesses how far he's gone.

It's all a stalling technique anyway, as Bejo and his personal guard soon arrive to help Uco murder Bangun. Uco has every opportunity to defend himself but shows only cowardice and childish resentment towards his father.

There's rage in every blow but it's fully justified at this point, and he stops when Eka declares enough, preparing to make arrangements to stop a full-scale war.

Bangun beats Uco to a bloody mess when he figures out who's behind The murders of Prakoso and Goto's men.

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Extra Nightmare Fuel points for the guy who gets his face burned on the Hibachi grill for almost a full minute. The fight that follows inside is mainly a Curb-Stomp Battle, with Rama only taking one (pretty bad) scratch from all of it, but it leaves him briefly in a Heroic BSoD, especially when it turns out his attackers are corrupt police officers.

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They smash the cab windows and drag the driver out, stabbing repeatedly into Rama's legs as he throws himself over the backseat and forces the car forward with the gas pedal, crashing into a restaurant.

Moments later, Rama hails a cab and immediately is attacked in broad daylight on a crowded street by knife-wielding men.

The Assassin's murder of his target in the field being a Call-Back to Andi's murder at the beginning particularly establishes him as a force to be reckoned with.

Bejo's trio of assassins massacre many of Goto's men and lieutenants with little difficulty, a three-way montage that shows the brutality and skillsets of all involved.

The filmmakers revealed how they did it, and it is indeed a Cinematic CMOA: The DP holding the camera on a cable car drifted away from the car containing the fight, approached Eka's car, handed the camera to a crew member who was disguised as the passengers seat, who then passed it across Eka's actor to another crew member on rollerblades holding onto the passenger door, who then slid to another car. It's a Oner that goes from outside a car, into the front window, through the interior, then out the back window.

A Crowning Moment on the film-making level, the Car Chase sequence features a shot so impossible, you might be taken out of the action wondering how they did it.

Special mention to when he breaks a choke hold with his chin.

But the real cake-taker is his first fight, where he effortlessly demolishes his target's bodyguards. The club fight is impressive enough, considering that there were what looked like two dozen or so weapon-wielding assassins sent to kill a single man, and by the time he exited the club, he'd subdued all of them.

Both Prakoso's fight scenes are basically showcases about how size means nothing when you're essentially a master assassin.

The massive three way brawl in the prison yard.

Rama taking on an entire mob in the prison bathroom, using the tight quarters to limit his opponents to one or two at a time, and then rip through them like a chainsaw.

It's a callback to the first film in which Rama trains on the heavy bag.

Rama's shadow boxing on the wall, showcasing his hand speed and strength.