Saying that Fuze, the latest action thriller by Relay director David Mackenzie, gets off to a high-octane flying start would be a massive understatement. Straight from the title credit, accompanied by pumping music, you get the feeling that this pressure-cooker thriller with a continuously moving camera will deliver all the goods, and for the majority, it does.
As someone who lives in London, it’s always wonderful to witness the city pop up on screen. While London Eye of Buckingham Palace don’t make an appearance, Mackenzie makes excellent use of Portobello Market, King’s Cross and Edware Road, of which the latter is the main area of the testosterone-ridden events you’re about to witness. You might not recognise him without the Na’vi blue CGI, but it’s great to see Sam Worthington trade in the brightly coloured Pandora for Central London. All the more so because he grabs the chance with both hands, delivering a robuust performance as X (no, this isn’t a typo), one of the bank robbers who stages a daring heist in broad daylight.
Alongside his crew, led by Karalis (a highly frantic Theo James), he plans to tunnel into a bank vault for a major robbery. The block in which their gold-laden target finds itself is cordoned off, as the military and police have uncovered an unexploded yet active World War II-era bomb nearby. The large-scale evacuation and the subsequent blackout give the bank robbers free rein until unexpected events puncture holes in their meticulously crafted plan, as the explosive device is far from the only volatile element in this feature.
It’s the hair-trigger volatility that’s the main source of tension throughout the movie. While the bomb disposal unit walks on eggshells to prevent the bomb from detonating, they also have to ensure that they don’t activate their own trigger point, as it’s clear some of the unit members have a troublesome past, especially Major Will Tranter (Aaron Taylor-Johnson). You don’t know much about him apart from his function, as Mackenzie skips intros to make space for the immediate action and the massive bomb that appears in the film’s opening minutes.
However, once he starts trying to dismantle the bomb or, in a worst-case scenario, trigger a controlled explosion, his secrets and his big ego come to light. He definitely takes his job incredibly seriously, but his overly inflated self-esteem makes him difficult to work with others. During this perilous mission, teamwork is key, but what happens if the leader thinks he knows best? Then the dangerous situation becomes even more unstable.
While Tranter is trying to keep both his team together and the can-explode-any-second device apart, further on Edgware Road, the bank robbers are pulling out all the stops to get their hands on the jewels, money, and the package Karalis is trying to keep hidden from everyone else. However, using a forceful sledgehammer and a high-quality, professional-grade drill doesn’t go unnoticed, especially when the police are on high alert.
Mackenzie definitely has a talent for using that high-intensity and unstable element effectively. By combining his new British playground, Tony Doogan’s obstructive yet pulsating score and Matt Mayer’s well-timed editing, he creates high-pressure sequences. Whether it’s the traffic lights changing colour, preparing you for an explosion (but where exactly?), or the loud bangs in the vault coinciding with Tranter starting to drill for the first time, the unfiltered violence in the vault is perfectly matched with the unsettling silence at the bomb disposal site.
The drone scene is probably not only one of the most significant in the story, but also the most impressive. It blends modern technology with traditional heist elements in the best possible way. While both teams race against the clock, one serves as a supportive family, while the other faces double-crossing at every stage of their plan. The various plotlines eventually come together in ways that are best left unspoiled.
However, that intersection between the stories is both a blessing and a curse for this genre mash-up of heist, police procedural, and military thriller. Yes, writer Ben Hopkins upends your assumptions about moral clarity and the film’s familiar macho archetypes. However, he also adds new characters, their shifting allegiances and new locations to an already stacked story. The twists, turns, and unnecessary distractions pile up and keep piling on, especially in the third act, resulting in an overstuffed movie. Many of the elements in the latter part of the feature feel redundant, and the main one is right at the end. After the intense and unexpected climax, the story continues through flashbacks. While those provide more action, they certainly undermine the intensity of the original finale.
Yes, Fuze certainly doesn’t come without its flaws, as it definitely sputters in the third act. However, if you enjoy a tightly twisted, gripping thriller led by an excellent all-male cast, this movie will be right up your street.
Fuze is out in cinemas on the April 24 courtesy of Roadside Attractions
Fuze certainly doesn’t come without its flaws, as it definitely sputters in the third act. However, if you enjoy a tightly twisted, gripping thriller led by an excellent all-male cast, this movie will be right up your street.
Freelancer by day. Film journalist by night.
