With invisible cuts to create the illusion of a sequence shot in real time, this action film by James Nunn is presented, in which a team of escorts is besieged by an army of terrorists
In the new ‘Scream’, released last Friday, there are 0.5% stabs and 0.01% exterminated human beings compared to the barrage of ultraviolence presented by ‘One Shot (Rescue Mission)’, a proposal of action that some time ago would be described as “video store meat”, now a subscription for the platforms. Perhaps due to the unusual situation of the billboard, with date changes and schedule delays to avoid the ravages of the pandemic, this shooter starring Scott Adkins, action-hero old school, label in danger of extinction, this festival of bullets sees the light in the circuit of theaters to the delight of lovers of the exchange of mamporros and murder on an industrial scale.
Savoring the show on the big screen can be a plus for a minimal story that expends certain airs as it is shot in a single sequence shot in which the seams are sometimes seen. Hitchcock had it more complicated in ‘The Rope’. Now the magic of infographics and decent media, with a solvent team, can allow you to technically hide any shortcomings in the script. Ask Nolan.
They take the technical boasts for the show, ignoring everything else. ‘One Shot’ defends itself well as an action film with the spirit of series B. However, as soon as the camera in hand breathes and focuses on the characters, everything falls apart. The staging is merely physical, a maneuver that obviously has its own, a lot of choreography work with specialists behind it, but the performances and dialogues are tremendous, sometimes unbelievable. It does not matter if only visual explosions are sought, to the detriment of emotional explorations, but the team’s effort is not rewarded with the final result.
The spread of effects is inversely proportional to the creative impact. The film has its audience, accustomed to devouring this type of cinema at home. The immersive experience is optimal, at times emulating ‘Call of Duty’ and its substitutes, but the weak premise and its development do not add anything new to a genre with serious growth problems. Here Asian cinema has been eating toast for a long time, you just have to see the poor confrontation sequences in ‘The Matrix Resurrections’.
A still from ‘One Shot (Rescue Mission)’.
Scott Adkins, the ultimate action hero, delivers on the record, as is customary in his filmography. Extremely prolific -soon we will see him in the fourth installment of ‘John Wick’-, if there is a title to be highlighted in his career we will stay with ‘Avengement’. The rest of the cast, with some textbook villains, goes unnoticed under the orders of James Nunn, who got off to a good start behind the camera with the curious ‘Sniper (Tower Block)’. ‘One Shot’ is a video game in real image whose greatest achievement is to change the point of view on the move and alternate it between the implacable protagonist hero and his reckless pursuers, a group of terrorists led by an unscrupulous mercenary with an easy trigger. What happens next is not surprising, but perhaps entertaining, like ‘Tyler Rake’ but with less budget.
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