critical trap in heavy seas on Netflix

critical trap in heavy seas on Netflix


Author of bestsellers famous in Australia, Matthew Reilly has pursued his literary career in parallel with his desires as a screenwriter and producer, since the mid-2000s. An ambition that will have brought him to the side of the series, with unequal success . But collector of surviving 80s hollywood props may have found with interceptor the recipe that will allow him to transpose his love of the popular productions of his youth.

The color is announced to us from the opening: welcome to the military-nag actioner circa 84, the one where we play the fate of the free world with blows of tatanes, where the threat is always nuclear, and deltoids shinier than snacked gonads in a tub of Jim Beam. Here, nuance is the enemy, just like the Russian. The program has something to delight those nostalgic for muscular productions, swept away by superheroic blockbusters, and gradually shunned by the general public at the turn of the 2000s.


A – relative – lack of love, which has a direct consequence on the film that interests us. interceptor is a platform film, produced for less than fifteen million dollars, a microscopic sum compared to its spectacular ambitions. This modesty is glaring as soon as the story has to briefly venture out of its main setting, suddenly taking on the trappings of telenovelas filmed by blind people, or during outdoor sequences, with particularly hazardous inlays. But the interest of this quasi-camera inflated to block lies elsewhere.

Interceptor: photo, Elsa Pataky, Tim Wong

Arrive on foot through China


Who says low budget, says small filming, in this case, a commando mission of barely 33 days, and therefore a collected story. At a time when entertainment cinema regularly suffers from exhausting narrative expansions, interceptor only lasts 96 minutes, and therefore leads its story at top speed. This sustained tempo also makes it possible to limit the wanderings of co-screenwriter Stuart Beattie, guilty of some of the worst blockbusters of recent years, and known for the trepanned characterizations of characters who do not ask for so much.

The proof with this poor JJ, played by Elsa Pataky, whose script never knows if he wants to make her a feminist Valkyrie, a daddy’s girl, a dyed-in-the-wool patriot or a model of inclusivity. The same goes for the villainous anarcho-terrorist Luke Bracey, who goes to great lengths to justify his plan to raze America with atomic bombs… in order to put an end to his violent and unequal roots. Characterized with the grenade launcherthe protagonists should not brand the annals of playwriting with a hot iron.

Interceptor: photo, Luke Bracey

The series B side of the force

But the investment of the two main performers is all the more life-saving. Elsa Pataky is having a great time, does not stop at any Mongoloid replica, does not back down from any fluff-pif to impose itself as a military mouth-breaker and planer of ugly patriarchy. Without necessarily falling into Shakespearian vertigo, she perfectly fulfills her contract as a fighter, and proves to be perfectly physically credible, a challenge all the more taken up as she is alone to bear the physical burden of this stirring program.

Interceptor: photo, Elsa Pataky

Don’t look you have Thor


And behind the camera, Matthew Reilly does not demerit. We feel the first-time director stuffed with references, madly eager to offer a simple show, largely inspired by Crystal trap, Trap on the high seasall sprinkled with a pinch ofFinal decision. Both constrained and liberated by its almost unique decor, he can consider it as aa toy box whose possibilities must be constantly renewed.

Interceptor: photo, Luke Bracey, Elsa Pataky

“Hello, this is about your CPF account balance”

Jousting with bare hands, shootings, intrusion… everything happens, and without the camera ever losing sight of the essential, namely the readability of the action, or the impact of the blows raining down on the screen. It is moreover one of the humble pleasures of this furiously retro entertainment, to have one’s taste for a mistreatment of bodies, which invests the viewer, increases the immersion tenfold, while also offering some pleasant kills. We often think of the inevitable transformation of Bruce Willis into a human minced steak according to the diehard. Because even though JJ sees his face relatively spared by the violence that is breaking out, the Amazon completes this severely tested adventure.

Provided you get past a couple of smoky dialogues, character motivations smoky like a Norwegian salmon, and a somewhat showy borderline budget, interceptor therefore offers a largely fulfilled contract, which sounds like a headbutt at dawn, ideal to start a glorious weekend, or to end an evening placed under the sign of elegance. A not obvious balance, which perhaps owes to the companion of Elsa Pataky, Chris Hemsworth, here executive producer, visible in a cameo which reminds maliciously that it is perhaps on the side of comedy that Thor illuminates the most.

Interceptor is available on Netflix since June 3, 2022

Interceptor: Official Poster


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