What triggers a person’s reaction? In the gripping thriller “Fuze,” this question looms large, much like the suspense surrounding whether a five-hundred-pound bomb hidden in a London construction site will detonate. If it does, this World War II-era explosive—likely a remnant from the Blitz—could obliterate several city blocks. This imminent threat prompts authorities to flood the area and evacuate residents within moments of the film’s start. While this setup promises nail-biting tension, Ben Hopkins’ screenplay quickly reveals that the bomb serves as mere misdirection; an even more sinister danger is ticking away within its blast radius.
If not for the film’s talented cast and director David Mackenzie‘s serious approach, “Fuze” could have easily fallen flat. The director of “Hell or High Water” approaches his work with such intensity that it feels as if he’s on a mission to save lives rather than just directing a movie. Aaron Taylor-Johnson stars as major Will Tranter, an expert in bomb disposal who is also an extraordinary sniper and somewhat of a loose cannon; he disregards protocol in his fervent quest to defuse the perilous device while minimizing casualties.
Trending on diversity
As Tranter navigates through this perilous situation, Zuzana (Gugu Mbatha-Raw), a high-ranking police officer, focuses on safeguarding civilians. Mackenzie highlights Rahim (Elham Ehsas), an immigrant speaking Dari alongside his elderly parents as they cautiously exit their nearby apartment building—a choice that plays into audience biases about character roles and their significance in unfolding events. Although some plot twists are predictable—often just moments before they occur—the connection between Rahim and the bomb remains elusive until later revelations.
A key takeaway is clear: prominent actors don’t typically except roles in films like “Fuze” unless there’s something compelling for them to portray. As Theo James and Sam Worthington make their appearances (or emerge from obscurity), our attention shifts from merely defusing bombs to uncovering what these characters are plotting behind closed doors. Throughout much of the first half of the film, composer Tony Doogan enhances tension with an artificial heartbeat layered beneath action sequences—a technique that adds little depth if we’re not invested due to strong character portrayals.
Mackenzie skillfully manages to make even outlandish elements feel believable throughout this caper while withholding details that might lead us to root for any particular side until late in the narrative arc. Complications arise when plans veer off course unexpectedly—creating gaps larger than those left by potential explosions across London streets.
The questions linger: How did such explosives end up at this construction site? Who exactly is Karalis targeting within those safety deposit boxes—and why isn’t he more prominently featured? Is Zuzana truly alone in her efforts against criminal activity? The operation possesses elements reminiscent of Jean-Pierre Melville’s efficient storytelling style rather than Michael Mann’s dramatic flair; “Fuze” echoes themes found in Melville’s works like “The Red Circle” or “Army of Shadows,” exploring honor among men regardless of legal standings.