[ad_1]
It’s almost inevitable to come across Chris Hemsworth’s new adventure, “Rescue Mission”, which after its premiere did not take long to lead the trends and shine as a brand new suggestion from Netflix. Here, an experienced soldier-turned-mercenary must rescue the son of an Indian drug trafficker kidnapped by the rival camp from a dangerous city.
The film is not much more than that: a direct line to chaos and violence, in a hyperkinetic journey that tends to shake the speed in which things are narrated in the action genre that comes from the United States.
Chris Hemsworth confronts Randeep Hooda in “Rescue Mission”.
Is that The biggest virtue of the delivery is how the amazing scenes of confrontations, persecutions, hand-to-hand combat and pyrotechnics look that adorn a rather simple story and that it does not seek to demand the brain, beyond putting it to soak in adrenaline splattered by the blood of a few adversaries.
The influence that the directors of “Avengers: Endgame” have, Joe and Anthony Russo, is evident when telling a story emanating from a comic book of his authorship and being executive producers. They inherit the delicate way of filming the action to Sam Hargrave, director of action doubles in the Marvel movie that commands this installment, to take such a technique and take it beyond the next level. Something that by the way has to do with delving into the way in which these types of productions are filmed in the Asian industry.
“Tyler Rake” (Chris Hemsworth) and “Ovi” (Rudhraksh Jaiswal) try to escape in a “Rescue Mission” moment.
The camera wanders in an impossible way through the corners where bullets whistle, glasses are pulverized and blows resound. Being its greatest point what seems to be an endless sequence shot in which it dances through an impressive chase in the dusty, hot and rotten decline of the landscape that serves as the setting for fiction.
In the face of such a visual exercise, it is inevitable to remember the work of Gareth Evans in the “The Raid” saga or the challenging forms of “The Villaness”, by Jung Byung-Gil, which have recently marked the genre with their multiple feats in photography work that fuels enthusiasm for what is seen.
Sam Hargrave leads Chris Hemsworth on “Rescue Mission.
Of course, the film certainly lacks the narrative forcefulness of things like “Mission Impossible: Fall Out”, by Christopher McQuarrie, where the action is balanced with an attractive plot of espionage, and for that reason it is more like “The Night Comes For Us ”whose development is much simpler and visceral: their desire is to find situations that lead to new confrontation scenarios; why when the Hemsworth thing tries to give an emotional weight to the matter, it ends up being rather the tragedy of a derailed train that gives away tears that feel more forced than sincere and rather predictable rather than surprising reactions. The substance then vanishes and all one wants is the next stirring to come to a conclusion.
Only for its intensity and the care in its visual potential, “Extraction” deserves to be seen. But it is inevitable to recognize shortcomings in the journey when dramatically binding its explosive spirit.
