“Fuze” takes place in London, as an unexploded bomb is discovered on a construction site. Military and police forces begin a mass evacuation while also attempting to stop an audacious heist.
High-Octane From the Start
There’s no wasted time in “Fuze.” On virtually every front, the film immediately brings high-octane energy. Prior to the title card flashing onscreen, bass-boosted, EDM-style music accompanies the opening credits. The story itself has no precursors, dropping the audience right into the situation alongside the characters.
While the synopsis seems simplistic enough, “Fuze” avoids remaining generic. This is because, very quickly, the story splits in two different directions. It’s a thriller that explores multiple sub-genres — with a “ticking time bomb” scenario alongside a heist B-plot. As the runtime progresses, these narratives converge.
Twists That Go Too Far
At a certain point, however, the film’s central ideas run out of steam — and it has to come up with more. Over the first two-thirds of “Fuze,” Ben Hopkins’ script is compact and focused. As threats are minimized and new ones emerge, the focus begins to unravel. The obvious initial stakes evolve into something much more complex. The main cast shifts into secondary characters while the ensemble becomes the cornerstone.
Specifically as the movie pushes toward its climax, it feels like it’s constantly attempting to one-up itself.
And it’s in this conclusion that “Fuze” loses some of its credibility. Having a twist is a good thing. But two? Three? Four? A line needs to be drawn somewhere, but it’s not here. The problem is exacerbated by the fact that the film doesn’t fully earn any of them. There isn’t enough time spent dissecting the characters themselves to make the shocking reveals feel earned. Many of the curveballs are still “cool,” but that doesn’t mean they are memorable.
This causes the script to grow more inconsistent with each passing minute. “Fuze” gets bogged down by exposition and added backstory that decomposes the beautiful simplicity of its introduction. In the process, segments of the short 97-minute runtime grow needlessly convoluted.
Style Over Substance
By the end, “Fuze” is unable to tie all of its loose ends together. Instead, director David Mackenzie goes the “fun” route — which isn’t necessarily a bad thing. At the very least, the film doesn’t overstay its welcome.
Aaron Taylor-Johnson (Will Tranter), Theo James (Karalis) and Sam Worthington (X) are the most notable names on the cast list. Some might say that the actors’ biggest job in “Fuze” wasn’t to deliver lines, but simply to look good for the camera. Taylor-Johnson portrays a “cocky” persona with subtle intensity. James probably has the most energy of the group, with scenes that require a bit more fiery rage. Worthington hardly says a word throughout the entire movie, mainly just “mean mugging” those around him. The characters they play are thin and one-dimensional, but the performances themselves are able to elevate the material.
Other members of the ensemble include Gugu Mbatha-Raw (Zuzana), Saffron Hocking (Dootsie Keane), Elham Ehsas (Rahim) and Honor Swyton Byrne (Clareese).
Despite the narrative issues, “Fuze” keeps entertainment value high with its visuals and production. Director of photography Giles Nuttgens maneuvers the camera through a variety of environments: underground tunnels, construction sites, quarries and busy streets. Drone footage heightens the immersive nature of many scenes, giving viewers a lens into the entire environment. The constantly moving camerawork, mixed with Matt Mayer’s editing, keeps the film moving along at a fast pace.
The special effects team adds realistic explosions and gunfire. While not often, “Fuze” does go big with its ambitions. Because they’re used sparingly, the impact of these moments is even greater.
“Fuze” is all about the thrills. Character development? Who needs it. Twists and turns? There’s plenty. If the synopsis hooks you, the movie will likely deliver.
Rating: 3 out of 5
