If you are looking for an action movie with text and dialogues as organized poetry, then watch the American director Michael Mann films such as Heat, Collateral or Thief, then you will enjoy a distinctive visual language and enjoy action scenes designed with great care.
If you want crazy action movies, do not bother searching with the search because they are many, but you have to check the names of their creators in order to ensure the quality, in the end you do not want to waste your time on ridiculous work, but you want a fun job with high production standards, sometimes regardless of the story and the text.
There are many examples, the most famous of which is the John Wake series that has enhanced action cinema in the past decade, the most recent of which is Extraction, a "rescue operation" produced by "Netflix," which adds slightly above the minimum requirements for the action movie story in relation to the scenario and the characters.
In fact, there is an impressive scene in the 50th minute that connects the viewer with the character surprisingly on Action movie, a scene whose purpose is to give the viewer a comfortable opportunity to dry his race before returning to the fighting scenes. Inevitably, you will not find personalities to relate to, nor the complexities of a story that captures your attention in parallel with excessive violence, incessant fighting, loud chases and bone-breaking battles that define this film.
Australian Chris Hemsworth gets a chance to project his muscles in this movie, and is an excellent candidate for a future action movie star away from Marvel's films due to his young age. There is no comedy in the movie as serious tone dominates every minute.
The story revolves around a former Australian Special Forces member who has turned into a mercenary called Tyler (Hemsworth) who has been told to rescue the son of an Indian drug gang leader, a teenager named Uwe Mahajan (Rodrakesh Jiswal), who was kidnapped by a rival drug gang that controls the Bangladeshi capital Dhaka led by Prince Asif (Briancho Pinioli)
Tyler faces a competitor who also wants to liberate Ofi, who is Sago (Randeep Hooda) who is also a former member of the Indian Special Forces and leads the gang of Ovi’s father. Sago fears that the success of Tyler's mission means that Ovi's father will get rid or take revenge on the first.
When Amir pays a price for Tyler's head with direct orders to the Bengali Special Forces that he controls to eliminate him, the movie borrows scenes from John Wake but without the comedy and without the dancing fight Keanu Reeves performs in that series.
On the footsteps of John Wick, the corpses piles up in every scene, and Tyler fights more than two people at once, and uses an opponent as a human shield from the next opponent's lead, for a while it looks like he's dancing during the fight but he can't complete his dance to its end and breaks it, and moves on to the next opponent or He changes his place by choosing or against his will, as he falls from the first floor balcony of a building on the ground.
There are no artistic illuminations in the background and there are no mirrors or fountains around which the hero fights with his opponents as does Wake, but looking at the background of the director and the hero it becomes clear to us that John Wake was a basic reference for this film.
The director, Sam Hargrave, was an actor of risk-taking roles, collaborating with Hemsworth, the brothers Rousseau, writers, and directors of "Avengers" films in which Hemsworth personified the role of Thor, and this is the first film directed by Hargrave. Metrix before they collaborated on John Wake, which was Stahlsky's first directorial experience.
There is a scene of 11 minutes running (although we know that the pieces are hidden by a computer) impressive that you will not be able to take your eyes off the screen. The difference between Hargrave and Stahlsky style is how violence is made on screen.
"Extraction" wants to shock you and does not want to impress you. He clearly avoids the artistic factor and focuses on putting the fight in your face by placing the camera just behind Hemsworth's neck or on his side so that only half of his upper body appears, and the fighting movements are chaotic.
In contrast, John Wake transforms the fighting process into a ballet dance that puts him in an environment decorated with lights or strikingly beautifully designed, and diversifies the camera movement in the medium and other times wide as if he boasts beautiful elements in every scene.
Hargrave deals well with the relationship between the characters Tyler and Uwe, as he is cautious and wants to turn around the sympathy of the viewer without exaggerating an emotional scene that spoils the public tone and succeeds in doing so. The degree of harmony between the hero and the boy is excellent thanks to the text that took his time to develop the relationship in the aforementioned dialogue scene, even though that time period is longer than required compared to the tone of the film.
The mystery of Sago's character deserves flattery, especially when Hargrave highlighted three phases of it, beginning with the stage of a parent who takes care of his family, then turned into a cruel and merciless killer when he collided with Tyler and then turned into a husband who wanted to protect his family at any cost. These details are raised from the movie above the level The minimum requirements we mentioned earlier.
Without a doubt, “Extraction” whose Netflix attends its second part is the best action movie in the first quarter of 2020, and this is the year of the epidemic in which its heavyweight competitors such as James Bond, No Time to Die and Black Widow, who postponed until further notice, missed. There is little or no competition.
Netflix cooperated with Hemsworth and the Rousseau brothers, who wrote the text of this movie, quoting a graphic novel entitled The City, meaning that the tech giant is booing Hollywood studios and making fun of them. Not only did Netflix compete in the Oscar field, but it moved to the mid-budget action arena, an idea that struck imagination just two years ago.
But we say, two years ago, it was an overwhelming time, and today is a different historical moment, "extraction", a bold movie not only in its style, but in the medium that we watch on it, meaning that this movie, with all its enjoyable moments, is an Internet movie. In other words, Netflix laughed and Hollywood studios cried.
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Netflix's cooperation with Hemsworth and the Russo brothers means that the tech giant is booing Hollywood studios and making fun of them.
This is the year of the epidemic in which its heavyweight competitors, such as James Bond and Black Widow, were postponed until further notice.