Out of the Fire

There’s a strange contemporary trend – making action movies with good actors but without emotion. Which is a pity in this case, because Chris Hemsworth usually knows how to crack jokes, like he showed us in Thor. If he got some space for that, instead of just massacring left and right like Robocop, it could have been the best action blockbuster of the decade. As it is, it’s just an average action flick with one delicious chase in the middle, where the camera was working magic and I was just gaping at the screen with my mouth hanging open. (29/04/2020)

Extraction has an indisputably significant place on the notional chart of trends in the action genre. This dot chart, marked out in one plane by unbridled low-budget action movies with athletic, ready-for-anything actors and in the opposite by constrained Hollywood big-budget productions with stars, shows us in the points the emphasis on action as an attraction and the evocation of the wow effect by the physical dimension. In this definition, however, Extraction is not an essential or revolutionary milestone. Rather, the very fact that it appeared on that notional chart further reinforces the hope that better times are ahead for the action genre in Hollywood. Sam Hargrave emerges from this as a good and likable apprentice of the 87eleven stunt school and stands somewhere between his masters Chad Stahelski and David Leitch. But Hemsworth is neither Keanu Reeves nor Tom Cruise, so he obviously does not have years of training or personal commitment under his belt. Therefore, his director and choreographer have to come up with gimmicks such as one seeming long shot that is digitally stitched together, which, with its obvious transitions, only brings to mind the ambitions of filmmakers from the lower budget categories, but who gain greater fondness through their greater tenacity despite the production conditions (in, for example, Universal Soldier: Day of Reckoning) or honest craftsmanship (such as in Jailbreak). And that’s not to mention projects that still remain unsurpassed today, where physical action and directorial craft achieve the ideal synergy, us as in The Raid 2. ____ Extraction is a fine contribution to the genre that shows Netflix’s potential, but also its real face as a video rental company. And that will perhaps remain the primary benefit of this project. Netflix is surprisingly consistent in bringing the schizophrenic “VoD video rental” label to mind. Although it will never achieve the pampered selection and community function that carefully curated autonomous video rental shops offered, it needs a regular supply of shiny new products, following the example of the major chains. In the best case, they will attract viewers to the more out-of-the-way sections, where they will discover not unique gems, but a bunch of other genre flicks that will compel them not to cancel their subscriptions. So, if you find yourself in these nooks and crannies because of Netflix’s recommendations, have a look at some of the films mentioned above. However, after these years of shakycams and CGI colouring books that completely lack a physical dimension, we can once again look forward to the coming development. It even makes one want to talk about the renaissance of the action genre. (16/05/2020)

Little buggers. Chris Hemsworth beats Indian kids! With top-notch action scenes driven by a straightforward plot from an unknown comic book, Extraction benefits mainly from the mad verve of director Sam Hargrave, who didn’t hesitate to tie himself to the top of a car with a camera to get the desired result. And really the one-shot car chase in the Benz through a hostile Dhaka makes the film worth watching again and again. Kids with Kalashnikovs on every street corner, dirt, blood and slit throats stay the course set by Wick. The future of action movies is not rosy, it’s blood red! (24/04/2020)

In an ideal world, it would be John Wick meets The Raid with a touch of The Punisher... but hey. The first one lacks greater action exaggeration, although there is nothing to complain about with regard to most of the fights and shooting, and the film has a top stunt show-reel. Compared to Gareth Evans and his group of Indonesian suicidal people, Extraction never quite takes your breath away. Hemsworth looks good on the field, but he also carries with him a mediocre back story and a lot of boyish tenderness, which is not very believable, even though I like the guy and enjoy every one of his Instagram posts. There is only one expert on this deadly tenderness deal, and that is Joe Bernthal. I would have given it a higher score had it not been for the blatantly stupid finale and the fact that Bangladeshi Ivan Jonák should have been given more space. Thank you, BTW, for the scene with the beating of children. After a month of quarantine, it’s solidly cathartic. P. S. If someone from Netflix reads this (and they certainly will), shoot the author of the translation in the foot and pay for a proper translator. This man is a fraud and does not need to be rescued, but rather deboned. (24/04/2020)

There hasn't been a more action-packed ride from the USA since John Wick 3! Netflix went ahead and plunked down a pretty penny and the only thing that sucks about the film is that we didn't get to see it on the big screen. Chris Hemsworth is tasked with rescuing the son of a crime boss in the harsh world of Bangladesh, which is a huge plus as this is a setting we're not entirely familiar with from movies. Debutant Sam Hargrave is primarily a stuntman and it shows in the action scenes, which are absolutely perfect. The fights are dynamic, sharp, raw, clear and with a lot of contact, and the original car chase or the final shootout on the bridge are delightful, they will please any fan of sharp and uncompromising action. I also praise the camera work, which literally draws the viewer into the action, and the very fast pace. Good stuff. Story***, Action*****, Humor>No, Violence****, Entertainment*****, Music****, Visuals*****, Atmosphere****, Suspense****. 8.5/10. (26/04/2020)