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 one-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: ‘Avengers: Endgame’ stunt coordinator/second unit director Sam Hargrave, who producers Joe and Anthony Russo hand-picked to helm the project following their collaboration on that film. 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 the directing, but rather the screenplay, as, in many ways, ‘Extraction’s screenplay is structured much like a video-game, continuously introducing new ‘Bosses’ which ‘Tyler’ must defeat before advancing, e.g. 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, such as a subplot focusing on a troubled teenager taking his first 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) set-up 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: ‘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 story tries to build a parental relationship between the two, merely reminding the audience how paper-thin its characters actually 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 said 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 director 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’s no stand-out 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 most of the film hinders on, and luckily, they do deliver, being brutal, bloody and fast-paced. As unlike a character like ‘John Wick,’ for example, whose fighting style is inherently tactical and calculated, ‘Tyler Rake’ engages in combat more spontaneously, improvising weapons and thinking on his feet whenever he is thrown into a dangerous scenario. As previously mentioned, much of the film’s camerawork also adds to many of these moments, particularly during one car chase sequence in which Sam Hargrave actually manned the camera himself whilst strapped to the front of a pursuing vehicle.
On the whole, ‘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 lover of video-games 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 fulled by the charisma and physicality of its star, suggesting that Hemsworth has found his genre once he retires his iconic superhero. Final Rating: high 6/10.