Interceptor, a review of the Netflix action film starring Elsa Pataky

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This Spanish actress and model tries to present herself as novella John McClane (complete with custom white tank top), saving America from nuclear attack and at the same time passing on MeToo’s request.

It took only fifteen minutes for Elsa Pataky to end up without a military uniform and still wearing a white tank top (then, after a while, covered in a flak jacket).
Bad thinking – that, as someone said, “we sin, but often we do it right” – this happens because this way Spanish actresses and models can show off their bodies more freely. Which, considering it’s (also) a film programmatically based on a MeToo instance, is also a bit odd.
But if Elsa Pataky keeps wearing the white tank top, it’s also because the Interceptor is trying to propose to her as a Bruce Willis novel, as a female John McClane obviously. Here, almost alone, he must save America from several nuclear attacks.
Yes, because he, who in the film is called J.J., an army captain he fell out of favor with after reporting the abuse of a generalissimo, ends up back where he fled, a military platform in the Pacific that is one of the two. ‘missile interception that protects the US in the event of a Russian nuclear attack, just as the terrorists have stolen sixteen warheads from Russia, destroyed other bases as well as attacked them, with the intention of preserving them and being able to strike disobedient America. An American is guilty of, hanging on to the terrorists who speak out, of being too liberal, or of betraying the ideals of the past in the name of the Capital.

 

Bruce Willis‘ references, and in general to the scintillating seasons of American action that the actor embodied, are not simply iconographic.
The Interceptor script aims not only to replicate the structure of various Die Hard, but also the irony and dialogue brilliance of the films, or those written by Shane Black: from Lethal Weapon to The Last Boy Scout.
The problem with emulation, as Tommaso Labranca taught us, is that in the difference between the emulated model and the actual results obtained lies in the so-called garbage: even before Elsa Pataky remained in the tank top, the script was full of jokes that left us. it’s stunned to see how far they’ve gone on phone calls and didactics in their task of tracing the basic coordinates of the story, and it provokes a fremdschämen vibe at its lousy attempt to be ironic.
Like when you say “but that’s impossible, the Pentagon will call us”, and then the phone rings. Or when J.J. he says “they must have men here”, and looking up he sees a janitor taking out a machine gun.

 

Interceptor is also the kind of film where jokes like “we are the only thing that separates America from Armageddon” are uttered, or “kill me, but don’t do the mansplaining”.
It’s surprising, in this sense, that it’s the first directorial work of someone who was a writer in his life, a certain Matthew Reilly, who co-wrote the screenplay with Stuart Beattie: someone who wouldn’t be Harold Pinter, of course, but who wouldn’t be stupid. .
For the rest, the action is regular, trending too, Luke Bracey does what he has to as a villain and Chris Hemsworth, Elsa Pataky’s husband, helps amused and proud from within, cheering his wife on. , via an “ironic” cameo.