It is almost inevitable to meet the new adventure of Chris Hemsworth, “Rescue Mission”after its premiere wasted no time in leading the trends and shine like brand-new suggestion of Netflix. Here, a seasoned soldier-turned-mercenary must rescue from a dangerous city, the son of a drug dealer indian kidnapped by the rival party.
The film is not much more than that: a direct line to the chaos and violence, in a hiperkinético route that tends to shake the speed in which you narrate the things in the genre of action comes from united States.
Is that the greatest virtue of the delivery is how they look like the mind-blowing scenes of confrontations, chases, fighting, melee and pyrotechnics that adorn a story rather simple and not looking on demand to the brain, beyond returning it to soak in adrenaline sprinkled by the blood of a few adversaries.
The influence of the directors of “Avengers: Endgame”, Joe and Anthony Russo, is evident to tell a story arising out of a comic book of their own, and to be executive producers. They will inherit the delicate of filming the action to Sam Hargrave, director of double action in the movie of Marvel that commands this installment, to take such a technique and take it beyond the next level. Something that certainly has to do with delving into the way that shoot this type of production in the asian industry.
The camera lingers in a way impossible for the corners in whistling bullets, powder, glass and echo blows. Still your point more grandiose what seems to be an endless plane sequence in which dance across an impressive chase in the decline dusty, hot, and rotten landscape that serves as the setting for the fiction.
Faced with such a visual exercise it is inevitable to recall the work of Gareth Evans in the saga “The Raid”, or the challenging forms of “The Villaness”, by Jung Byung-Gil, that have marked the genre recently, with their multiple achievements in the work of photography that fuels the excitement by the looks of it.
Yes, the movie will definitely lack the forcefulness narrative of things as “Mission Impossible: Fall Out”, Christopher McQuarrie, where it balances the action with an engaging story of espionage, and that’s why it looks more like “The Night Comes For Us”, whose development is much more simple and visceral: his ambition is to find situations that will lead to new scenarios of confrontation; because when I Hemsworth tries to give a weight emotional the issue, it ends up being rather the tragedy of a train derailed that gives lagrimones that feel more forced than sincere, and reactions more predictable before that amazing. The substance then fades away and the only thing that one wants is the next agitation to reach the conclusion.
Only by his intensity and dedication in their visual potential, “Extraction” deserves to be seen. But it is inevitable to recognize deficiencies in the accommodation at the time tie up dramatically your spirit explosive.