Tyler Rake, a fearless black market mercenary embarks on the most deadly extraction of his career when he’s enlisted to rescue the kidnapped son of an imprisoned international crime lord
The Greater Hemsworth – and let’s face it, he’s the main reason I watched this – and the kid playing the kidnapped boy carry what is otherwise a Big Dumb Movie. Character development is limited to exactly what you would expect (cynical guy rediscovers his humanity through interaction with a young person who comes to worship him) but it gets extra points for a villain with exotic dress sense and unfeasibly good hair, and then loses them again with an irritatingly ambiguous ending.
Don’t get me wrong, I like a good ambiguous ending – I refer you of course to the masterpiece that is Inception – but this one felt gratuitous and undermined whatever closure had been provided to the audience.But it was fine as a means of passing the evening and is by all accounts extremely popular.
Dazzling details: directed by Sam Hargrave, Extraction is 1h 56m long and is rated 18 for strong bloody violence, injury detail and language.
An embattled NYPD detective is thrust into a citywide manhunt for a pair of cop killers after uncovering a massive and unexpected conspiracy
But but but that’s not how it went down! Unless the person who wrote this quote was watching a totally different movie (or was under the influence because, let’s face it, that is always a possibility) then this should read embattled etc. uncovers a massive and unexpected conspiracy during a citywide manhunt for a pair of cop killers. That’s the film I saw.
This is a really solid police procedural with strong performance all round, especially Chadwick Boseman in the lead, and a very cool cameo from the former Dr Bashir (a shout out to all DS9 fans). I spotted the bad guy at a hundred paces but that’s not necessarily a bad thing. This was a neat thriller which I thoroughly enjoyed and would watch again.
Dazzling details: directed by Brian Kirk, 21 Bridges is 1h 39m long and is rated 15 for strong violence and language
A young videographer answers an online ad for a one day job in a remote town to record the last messages of a dying man. When he notices the man’s odd behaviour, he starts to question his intentions
Creep has been on my radar for a while, but an interesting article (by Edward Tew in the Guardian in early June; apologies, I’ve lost the link) about why this is a film we should be watching during lockdown really caught my interest. So I watched it. By myself. I’m brave, me.
It’s sort of a found footage movie but given that our protagonist films videos for a living it’s plausibly much better quality than you might expect. Anyhow, the guy who has hired him is vaguely unsettling but not in an obvious way. He’s not threatening so much as he is someone who oversteps boundaries, and rather than shouting at the hero not to do the thing he’s about to do, you can understand how easily he gets drawn into this creepy situation by degrees simply by wanting to be polite.
The film is all about atmosphere and mind games and goes off in an unexpected direction (to me at least) about halfway through. I loved it – especially the ending which wasn’t strictly necessary (there is an earlier point where it could have finished and been just as complete) but it is undoubtedly satisfying.
The guys who made this brought out a second movie called, astonishingly, Creep 2 and I’m definitely going to give that a shot.
Dazzling details: directed by Patrick Brice Creep is 1h 17m long and is rated 15 for strong violence and references to sexual violence.
EDITOR’S NOTE: I personally would have given it an 18 for the disturbing portrayal of practical jokes as an acceptable means of human interaction.