Fuze

Fuze’s denouement is terrific, completely unpredictable and surprisingly funny. It’s as if summer blockbuster season came early. Fuze is… wait for it… a must-see blast.

Instead of bothering much about dialogue, Fuze is a blueprint of how stress and deference exert themselves upon a workplace.

Even as Fuze is not a great film, let alone one that will be remembered as a classic new take on the genre, it’s an endlessly watchable one.

The resulting film is an uneven one – occasional flashes of intrigue are hampered by Fuze​’s strange structure and uncertainty about how funny it wants to be. Although the 90 minute runtime is welcome during an age of ill-advised action film bloat, there’s not much good in a film being short if it’s also largely unremarkable.

The screenplay blows it at the close with an absurdly clunky flashback that ties up every loose end with improbable neatness, but this remains a decent class of red-meat actioner for a now underserved audience.

Despite a plot (by Ben Hopkins) bursting with double- and triple- crosses, the movie feels programmatic, its characters bland cogs in a Rube Goldberg machine.

While there’s something engaging in how the film takes us to a place so, literally, far from where we started, how we get there is not as entertaining or propulsive as it should be with anonymously staged action, easy-to-spot twists and a crucial lack of suspense.

It starts out as the kind of urban thriller that hooks you right away: a World War II bomb found in the heart of London, mass evacuations, collective paranoia, and criminals taking advantage of the chaos. It almost feels like a mashup of a disaster movie and a stylish **** for the most part, it works VERY well. It knows how to build urban tension like few others, so the film creates a constant sense that everything could explode (literally) at any moment. You find yourself waiting for the inevitable disaster as the plot **** problem is precisely when it tries to get too big. The more the film delves into the conspiracy and tries to turn a relatively restrained thriller into something gigantic, the more it loses steam. It feels like that classic case of a script that confuses “more complex” with “more interesting.”In the end, it works best when it just lets London descend into chaos and embraces its paranoid urban thriller side.

An action-packed heist with a neat premise devolves into gratuitous competency porn. Both sides work hard to resolve their respective problems, by shouting out commands and bickering. No emotional core to speak of, the audience is left wondering who to root for, not because they're all compelling, but because they're not.

This is a solid action heist film that features the worst and most out of place final 10 minutes in movie history. I can only assume the studio said you have to get this to 90 mins and they had no choice.

The yellow filter, which is constantly used for Istanbul, is intended to fuel anti-Turkish sentiment and portray Turks as Arabs. Istanbul is not yellow; it is blue. Its sea and air are both clean and blue.

It's fitting that this movie is about bombs because yeesh did this one ever hit the deck.