Extraction (2020) — Review


This is a spoiler-free review.

The second action set piece in the movie is a nearly 12-minute long chase-fight sequence made to look like a single unbroken shot. Director Sam Hargrave seems to have either pitched his vision for the movie based on this 12-minute scene or decided to direct the whole movie because he wanted to shoot the particular scene. And boy does it deliver! It is clearly the movie’s highest point, after which it is mostly downhill, although it is not altogether unimpressive.

Extraction is based on a graphic novel named Ciudad by Ande Parks, although a lot of it has been altered in the screenplay by Joe Russo, including the setting from Ciudad del Este (Paraguay) to Dakha (Bangladesh) and the gender of one of the protagonists. The plot is pretty basic — a druglord in Dhaka gets his Mumbai-based rival druglord’s son kidnapped and a battle-hardened, grieving mercenary is hired to rescue and extract the boy. However, props to Joe Russo for trying to inject a bit of thematic heft into the story by introducing the theme of parenthood, which in ways becomes both an albatross around the neck and a welcome relief for the movie.

Chris Hemsworth plays Tyler Rake, the mercenary hired for the job. It is pleasant to watch Hemsworth, who has grown into such a big movie star over the years, show so much sincerity and bring believability to a character type that every action hero in Hollywood must have played at least once. In case you are wondering what that is, it is this: a white male looking for some sort of redemption takes on a dangerous mission in a foreign land (which is mostly exoticized the heck out) and ultimately finds it. This is fairly common in western literature and movies, portrayed with varying levels of artistry and success. Getting back to Hemsworth’s performance, the fight scenes sure looked excruciating. Even with a body double and a ton of amazing stunt performers there to make him look believable, Hemsworth had to perform a lot of choreography himself. And that is impressive, especially because the on-screen commitment is much more demanding here than anything he has done before, including the superhero stuff.


The other thing the movie does right is introducing a South Asian character that stands as an antithesis to Tyler Rake’s westerner in the East. Played by Randeep Hooda, the character Saju is surprisingly organic to the plot and the theme and is definitely not there just to attract the Indian audience, unlike the barely-there cameo of Pankaj Tripathi. Unsurprisingly, Hooda holds his own alongside Chris Hemsworth.

In fact, Saju is the only character that I felt like rooting for in the movie. Both Tyler and Saju have the same objective but are pitted against each other because of their different motivations. And here it got really interesting for me — while Tyler is on the mission because of the money and redemption and because he wants to, for Saju, it is about survival (I won’t disclose more to avoid spoilers). It is like accepting that the first-world countries have the luxury to dream of and fight for the future (the boy represents future/hope), while for a third-world country, surviving in the present is more than enough. Perhaps I am reading more into it than I should, but it seems the script is aware that without such an antithesis, it would just be another white savior narrative, which it largely becomes, especially because of its representation of Dhaka, which I am sure the people of Dhaka will not be too excited about.

With two good performances, excellent stunt work, great production design (the movie was not shot in Dhaka, except for a few establishing shots), inventive cinematography (especially in the second set-piece — it is brilliant) and fairly fast pace, you would think this is the action blockbuster you have been waiting for, but it has its fair share of problems, including the few mentioned above. One of the major problems with the movie is that it is pretty weak in the emotional scenes. There were instances where a more nuanced approach could have done wonders. Clearly, Hargrave’s directing ability is not as honed as his skills as a stunt coordinator and his efforts fail to evoke the struggles of parenthood and its coexistence with violence in this bleak world. Moreover, Rudraksh Jaiswal’s (who plays the kidnapped boy) underwhelming performance does not help. The script too loses its steam as the movie progresses, giving way to cliches and contrivances far too common in action movies. Although cliche-ridden, the final shootout is great.

To sum it up, if you can get past the white savior complex (saved partly by Saju), cliches, uneven direction, weak emotional core, and one particularly ordinary performance, it can be worth a watch. Just focus on the three Hs — Hemsworth, Hooda, and high-octane action, and who knows you may end up enjoying the movie more than you thought.


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