“If You Want to Survive, You Will Do Exactly as I Say…” – Tyler Rake

Based on the graphic novel; Ciudad by Ande Parks, which in itself was based on an unproduced screenplay written by Joe Russo in 2014. 2020’s Extraction transfers the story it’s adapting from the Paraguayan city of Ciudad Del Este to Dhaka in Bangladesh whilst still indulging in all of the same barbaric violence and exciting action set pieces. Yet, despite its spectacular stunt work, impressive long takes and electric performance from Chris Hemsworth, Extraction isn’t entirely saved from its generic complexion, as the film frequently falls back on many of the usual tropes we tend to see in modern action flicks.

Plot Summary: In an underworld of weapons dealers and traffickers, Ovi Mahajan, the son of a notorious drug lord, becomes the pawn in a war between two criminal syndicates. Now, held hostage by a group of kidnappers in one of the world’s most impenetrable cities, his rescue beckons the unparalleled skill of black-market mercenary, Tyler Rake, a broken man with nothing to lose, harbouring a death wish that makes an already dangerous mission near impossible…

Extraction marks the feature-length directorial debut of the stunt coordinator/second unit director for 2019’s Avengers: Endgame, Sam Hargrave, who, producers Joe and Anthony Russo, hand-picked to helm the project following their collaboration on the superhero blockbuster. Meaning, of course, that Hargrave’s profession as a stunt coordinator (and stunt double) repeatedly comes into focus as each of the film’s action sequences are relentlessly thrilling and well-orchestrated. If truth be told, however, most of Extraction‘s faults come not from its directing, but rather its screenplay. As, in many ways, Extraction‘s screenplay is structured much like a video game, continuously introducing new ‘boss levels’ that Tyler must complete before advancing, such as a corrupt general who also happens to be the country’s best sniper. Quickly equalling to tiring formula, especially when the film introduces the odd interesting idea, like a subplot focusing on a troubled teenager taking his first, uneasy steps into the world of organised crime.

Although Chris Hemsworth gives an admirable performance as the film’s protagonist, Tyler Rake, a fearless mercenary and former SASR operator, discreetly mourning the loss of his son who died from lymphoma. The character’s promising (if a little cliché) setup is soon spoilt by the complete lack of development from that point onwards, as Tyler essentially goes nowhere after the groundwork for his character is laid, cementing him as a by-the-book action hero and nothing more. Surprising, considering that Extraction was effectively conceived as a ‘star vehicle’ for Hemsworth, a remarkable actor who has struggled to obtain a signature role outside of the God of Thunder, Thor Odinson. On the flip of this, there is the school-age son of a Mumbai drug lord, Ovi Mahajan, portrayed by Rudhraksh Jaiswal, who, serves his purpose as an innocent child caught in the crossfire between two gangs. It’s just unfortunate that the film tries to build a parental relationship between the two, merely reminding the audience how paper-thin its characters are.

When overlooking the murky, displeasing colour palette, a majority of the visuals throughout Extraction are spellbinding as the film uses its dynamic, hand-held cinematography by Newton Thomas Sigel to place the audience alongside the characters in the busy streets of Dhaka, having Tyler grapple with corrupt police officers while tuk-tuks and scooters disorderly rush past, a feeling that is only amplified by the film’s multiple one-takes. One of these takes, which clocks in at around eleven minutes and twenty-nine seconds, is, in actuality, comprised of thirty-six stitched sequences, some of which took over twenty-five takes to line up correctly, according to Sam Hargrave.

Regrettably, the original score by Henry Jackman and Alex Belcher isn’t as innovative as the soundtrack almost solely consists of indistinguishable ostinato-driven action tracks, such as Police Search and Checkpoint, all of which have a heavy emphasis on percussion, with only the occasional pause for breath. And, whilst there isn’t a standout theme as such, Extraction does have an effective little motif that runs through some of the tracks to give the score a bit of personality.

Naturally, the action sequences of Extraction are what the majority of the film hinders. And, luckily, they deliver, being brutal, bloody and fast-paced as, dissimilar to highly-skilled characters, like John Wick, whose fighting style is inherently tactical and calculated, Tyler Rake engages in combat far more spontaneously, improvising weapons and thinking on his feet whenever he is thrown into a dangerous scenario. As previously mentioned, the film’s camerawork also amplifies many of these exhilarating moments, particularly one car chase sequence, during which, Hargrave actually manned the camera himself whilst he was strapped to the hood of the vehicle pursuing Tyler and Ovi.

In summary, Extraction is slightly contrived and sporadically over-the-top, and there’s no question that the film’s characters are essentially just cardboard cutouts delivering line after line of uninspired dialogue. In fact, for most of its runtime, Extraction almost feels as if you’re watching someone play a video game, which as I’m sure any video game enthusiast will tell you, is only amusing for a short time. But, purely in terms of action, Hargrave and the Russo Brothers bring the noise with a film fueled by the charisma and physicality of its leading actor, suggesting that Hemsworth has found his go-to genre once he retires his iconic superhero. Rating: 6/10.