Interceptor is an action thriller film directed by Australian filmmaker Matthew Reilly. This 92-minute Netflix release stars Elsa Pataky and Luke Bracey. What is offered from this Die Hard plot variant with filmmakers and’ second-class’ star castings? We don’t need a lot of expectations.

Captain Collins or J.J. (Pataky) was reassigned to be the crew of an offshore refinery, the U.S. defense against nuclear missiles launched by Russia. J.J., who just got there, must deal with a group of terrorists who want to take over the facility. Luckily, J.J. and two crew can self-isolate in the central control room. The intentions of the terrorists who wish to launch dozens of nukes into the U.S. only depend on J.J., who tried desperately to prevent them from entering the room.

The story’s premise is not too bad, and the idea is relatively fresh. Although, I wonder, does this kind of facility exist? This is not our problem right now, but the script makes no sense. Plot holes are here and there with some annoying fighting action. If this facility is so vital, why does this facility seem vulnerable without being guarded by a navy or something like that? The reinforcements took a long time (25 minutes?) to reach the location. So why didn’t the terrorists blow up the facility when they had time to do so. Job done.

Manuscripts that have problems and dialogues often make me laugh aloud. The lack of supple acting is evident in many of his castings, including Pataky himself. There are not many action scenes that we can enjoy, especially the mediocre CGI achievements. There’s not much intensity of tension built up because the situation never really feels threatening. Besides the premise, one thing that caught my attention was the issue/trauma of the protagonist’s past sexual harassment, which was tucked away in one moment. One more surprise cameo is the big star, also Pataky’s husband.

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Like the trailer’s expectations, Interceptor could not compensate for its promising premise through a poor script, dialogue, acting, and CGI. This trend of bad movies, if it continues, is bad news for Netflix, which has already lost a lot of subscribers. Quality content is one of the main factors in competing with other platforms.

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PENILAIAN KAMI
Overall
30 %
Artikel SebelumnyaTop Gun: Maverick
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A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on montasefilm.com, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.

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