Film Review: Extraction

Self-isolating has been tough on us all. Many of us are doing what we can to keep busy and keep from getting cabin fever. Obviously, movies are a major factor in this, and while we can’t go out and see the big movies on the silver screen, we have been treated to some awesome streaming shows, some mediocre theatrical rentals, and a bunch of YouTube content creators going into high gear. Netflix has now graced us with the first balls to the wall action film of the year in “Extraction” starring Chris Hemsworth, Rudhraksh Jaiswal, Golshifteh Farahani and featuring David Harbour. At the helm is Sam Hargrave, a veteran Stunt Performer, Choreographer and Fight Choreographer for pretty much all of the MCU films, and many of the Pirates of the Caribbean films. Obviously, this is how Thor found his way here, and probably most of the budget for that matter, though this is a Netflix film and they have more money than God now.

Though based on the novel Ciudad written by producers, the Russo Brothers, there are some major differences. Instead of a South American setting, we are based in Dhaka, Bangladesh, and Ovi Jr., the kidnap victim is an Indian boy, not Eva, a Hispanic girl. Tyler Rake (Hemsworth) is the same, an Australian Special Forces Vet turned Mercenary. He takes all kinds of dirty jobs with impunity as he is masking the pain of his dead child and failed marriage. Ovi Jr. is kidnapped by the biggest Bangladeshi drug gang, and rival to Ovi’s father, imprisoned Indian Drug kingpin Ovi Sr. played by Pankaj Tripathi. Ovi Sr. Is in prison and all of his drug funds are frozen by the government. This means he doesn’t have the usual resources to send a rescue team. Instead, he threatens the family of his number one enforcer Saju, played by Randeep Hooda.

This setup didn’t make total sense to me, as they hire Tyler and he assembles a small team of badasses to take this extraction on. But then Saju goes to Dhaka as well, to get the kid himself. What ends up happening in the rest of the film is a whole lotta killing. The setups for action films are often pretty weak, and this one is no exception. It’s a thin plot to get some badasses throwing fists and bullets for 90 minutes. If this were the 80’s you could easily see Arnie, Sly or JCVD in the lead role, with even less of a story.

Despite the plot, this is a very well-done film. There are several qualities that stand out and shine here. Firstly, the setting of Bangladesh is fresh and new for American Audiences. They could have thrown that yellow tint on and headed south of the Rio Grande like dozens of other films, but they showcased a refreshingly different environment here, and I loved it. The fight choreography and logistics were truly next level. Obviously, Hargrave got a shot to do his own thing, unbridled from the MCU and he really went for it.

There are many gunplay tropes and I saw almost none of them here, save for excessive silencer use and the all too familiar “kitten sneeze” noise they use in movie silencers. There are some new approaches to movie gunplay here, slightly borrowed from the John Wick series, but not entirely. Namely, pistols are used just as much if not more than the big bad AR rifles. It’s as if a Medieval swordsman also had a dagger to handle the small spaces. All of the featured players switch between rifles and pistols fluidly and effectively. These gunplay scenes move like a ballet, with lot’s more blood. Another thing you don’t see in a whole lot of action movies are resilient bad guys. I don’t know how many times I’ve seen a movie where the action scenes go: BANG, dead guy, BANG, dead guy, BANG, dead guy. This does not happen in Extraction, as Tyler shoots and shoots and shoots these henchmen and frequently, they keep fighting and struggling through three, or more body shots. Eventually he gets ‘em, but it seems like a lot more of a realistic take on how this stuff might play out in real combat.

Another of the extremely well-done parts of this film is the cinematography and camera operating. There are hardly any static shots, the cameras (there are four camera teams in the credits) are always moving. When the action ramps up, they take on a faux long take model similar to 1917, but much more frenetic, though no less challenging I’m sure. There’s heavy use of floating camera, probably the DJI Ronin and an Alexa Mini that glide through buildings, into cars, out of cars, up into and on top of buildings, through windows and all kinds of cool driving shots. There is clearly a lot of CGI blood, debris, and other tricks thrown in to accentuate the look, but it is very well done and really helps to amplify the already impressive action.

Acting largely took a backing role here as it’s really about the action, but Hemsworth does well as a deeply broken man, with nothing left to live for until he finds purpose in saving the life of the young Ovi. Saju was my other favorite character, who was Tylers physical equal and had much more to lose in his role. He is also equally, if not more badass than Tyler, especially in a scene where he resets his own badly broken nose. Eww! David Harbours’ role was a throwaway, a familiar face that comes and goes with little impact, sadly as he is capable of much more.

In the end, I didn’t care much about this movie, and wasn’t left with much of a lingering feeling, good or bad. I was thoroughly entertained, and I think that is all this movie really set out to do. I’m glad it was on Netflix, as if it were in theaters (with no virus issues) it would have likely been a pass for me to spend movie money on. Overall, I’d say to give it a watch, and turn off your brain for 110 minutes or so. You’ve earned it!