"The title for "Fuze" fills the screen, accompanied by loud house music, and the smeary credits that follow are over in a blink. From its first frame, this thing moves- so much so, moving so fast through its set-up, that initially it's a little tricky to tell exactly what the hell is happening, or who these people are. But we don't need to know much beyond their immediate function (proper intros, if necessary, can come later),"
"The setting is London, present day, and in that opening shot, construction workers on a building site have dug up what appears, at least at first, to be an intact (but live) WWII-era bomb. Several surrounding blocks are evacuated, but in one small apartment of one nearby block of flats, a group of men close the curtains and stay put."
The film opens with loud house music and smeary credits before accelerating into a rapid, kinetic narrative that prioritizes immediate action over formal introductions. The setting is present-day London where construction workers unearth what appears to be a live WWII-era bomb, triggering evacuations. A small group in a nearby apartment remains, establishing a tense standoff. Director David Mackenzie keeps cuts tight, the camera mobile, and an almost constant pulsing score to sustain momentum. Screenwriter Ben Hopkins piles on late twists and adds a superfluous epilogue that undercuts the efficiency and momentum established earlier.
Read at Roger Ebert
Unable to calculate read time
Collection
[
|
...
]