What triggers someone? In the winding and streaming thriller “Fuze”, this is the question as the bomb of 500 pounds discovered in a London construction site could explode. If this is the case, the explosive of the time of the Second World War (presumably a Blitz relic) could destroy several city blocks, which is why the authorities swarm the area and evacuate all residents in the first minutes of the film. Normally, it would be a recipe for an action on the edge of your seat, although the Ben Hopkins script clearly indicates very early that the bomb is only a distraction, while an even more sinister plot runs in the breath of breath.
If it was not for the distribution of the film (or the dark seriosity of its director, David Mackenzie), “Fuze” could have been a complete failure. But Helmer Mackenzie “Hell or High Water” deals with the mission as if he were the one who saves lives, avoiding everything that could count as fun along the way. With his tight jaw and his views to be the next James Bond, Aaron Taylor-Johnson plays Major Will Tranter, a bomb elimination professional who is both a sniper and a little loose barrel, breaking the protocol in his obsessive attempt to deactivate vintage birth with minimal lots.
While Tranter was pushing around deadly antiquity, a high-ranking police officer named Zuzana (Gugu Mbatha-Raw) focuses on public protection. Mackenize simple on an immigrant from Dari named Rahim (Elham Ehsas) and his elderly parents while residents are spilled with caution from a nearby building, knowing that the imagination (and prejudices) of the public (and prejudices) will begin to suggest how this character could relate to the overview. Although many of the surprises in the film are predictable – generally a few moments before inversion – no one is likely to determine Rahim’s link with the bomb.
One thing is certain: cinema stars do not play roles in films like “Fuze” unless they are offered something interesting to play, which means that Theo Theo James and Sam Worthington are instantaneous (or not from shadow), our interest goes from the bomb to all that these two and their accomplices are up to it. For almost the first half of the film, the composer Tony Doogan superimposes a regular synthetic heart rate under the action, which gains little from this trick. If we are invested, it is because the telegraph actors that these characters are important.
The character of James speaks with a South African accent and bears the name of Karalis, and although he appears as a villain at the beginning, he is too early to say if it is true. Karalis provides his colleagues with public fluorescent public service uniforms and leads them stealthily through the back door of the Al Muraqabah bank, located just below the Rahim building. While tranter Tinkers and Zuzana monitor the wall of local surveillance images, Karalis and his team set to work to train through the safe wall. Obviously, it is not a coincidence that they chose this moment to steal the bank. But what is their biggest goal?
Mackenzie is a good director – good enough to make the pure absurd of this robbery seems plausible – but he saves the thing that would make us root these characters until the end. Meanwhile, it is not clear to whom we are supposed to take, which complicates things once a diagram that could not have gone as expected begins to collapse in an unexpected and potentially overwhelming way. At this point, there are larger plots than the one that this bomb could tear on the London map.
How did the bomb come to the site? Who is the guy of which Karalis is after the safe, and why is he not a character? Is Zuzana the only one to try to stop the program, and what type of thriller is it, where you leave the criminals to eliminate each other? There is an elegant element of elegant Jean-Pierre Melville style in the operation, if not as a Michael Mann level theater. “Fuze” shares the French director’s code of honor between men, whatever the law they live in, as we can see in films such as “The Red Circle” and “Army of Shadows”.
Aside from a shocking death (when Tranter goes from the neutralization of bombs following eliminating threats with its long -range rifle), the action is entertaining enough for the moment, but not particularly memorable. The most explosive scene is not the one you expect, but the CODA in which we learn why three characters are so unwavering, while everyone seems ready to meet in the first opportunity. This is when the film rocket is defined. Tranter or can anyone stop it?
