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Netflix’s Interceptor is a lunch time movie for poor people

This Netflix movie starring Elsa Pataky and produced by Chris Hemsworth is truly one of the worst of the year.

You have to respect the junkiness of small films that achieve a lot with almost no money.

Even when short on cash, the strength of the story, the performances, or the artistic vision more than makes up for the lo-fi production values ​​- think Kevin Smiths employeeSean Bakers tangerine or Steven Soderbergs Soaring Bird.

Budgets are not the alpha and omega of whether a film dazzles or disappoints.

So, Netflix movie interceptor can’t settle for this excuse as to why this is one of the most mundane, hackneyed, and inappropriate films ever released by a major studio.

The story takes place in an American military facility that becomes the last line of defense when terrorists aim 16 nuclear missiles at US cities.

Only Captain JJ Collins (Elsa Pataky) stands in her way as she attempts to maintain control of a series of interceptors capable of repelling the incoming projectiles, while the villains, including Alexander (Luke Bracey), literally stand at the door.

interceptor is a terrible, terrible, not a good, very bad film. It’s as boring as watching Eisteddfod sober, and as nuanced as a pantomime full of ex-Neighbors Stars.

Actor Rhys Muldoon might be one of the luckier people to be involved in this ailing film – his character is (spoilers) dead in 12 minutes, so if he’s lucky you’ll forget he was ever a part of the film.

Handing direction to novelist Matthew Reilly, whose airport books have undeniably sold millions of copies, is unfortunate, as he clearly lacks the skill or instinct to coax the necessary, even passable, performances from his actors.

Pataky struggles to convince as a tough military woman with a traumatic past, with each scene being two octaves too melodramatic – a better director could have modulated her performance.

Even Australian acting luminary Colin Friels might wish to distance himself from this particular project. Let’s hope he and Muldoon at least managed to cash some handsome checks from their stake.

Reilly also doesn’t have the visual imagination to make dynamic a film that’s mostly set in two rooms. Every scene is flat, as if the entire texture had been run over by a Zamboni, while the plot inventions are so predictable that any tension or suspense is released during the opening credits.

If your budget is constrained by filming locations, there are more creative ways to stage your scenes so that every single beat doesn’t blur into an imperceptible blob with as much edge as fairies.

There are too many shots that look like they were filmed and inserted by the second unit to mess things up, but the sequences are as interesting aesthetically as an episode of a second level police procedure.

And it doesn’t have to be – don’t forget David Lowery made the transcendent A ghost story on a budget of $100,000, shot almost entirely in one room and featuring little more than Casey Affleck in a white sheet.

The action choreography is no-frills, the visual effects look like footage from a 1996 video game, while the attempt to frame its villains’ motivations in order to shatter the myth of American exceptionalism sounds hollow.

Not every Netflix movie is going to be cinematic or even entertaining, but this equivalent of a poor man’s lunchtime movie is truly one of the worst efforts of the year.

valuation: 1/5

Interceptor is on Netflix starting Friday, June 3 at 5pm AEST

Originally released as Interceptor by Netflix is ​​a poor man’s midday movie

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