There is not much difference between Damage (havoc) and a Playboy TV adult movie. That is one of the keys to the new Netflix Supercourse Tank with Tom Hardy.
In short, havoc tells the story of Walker (Hardy), a police officer who, in order to find a little peace of mind in his life, he must get the son from a politician from the low Welsh funds.
The action revolves around 3 large human groups: Police, thieves and a triad (As also the Chinese mafia is known). These are brought in the protagonist’s career while fighting each other for different interests.
For the impressive action sequences of the film, Gareth Evansthe director and screenwriter, resorts to tricks of the most obscene: characters that say aloud their aspirations, clichés, excess of coincidences, predictable situations. So much, at times, Confusion is absolute.
However, Havoc is no more of the same.
It gives the action movie viewer a Anything elseand at some point it fulfills what is proposed. It works, as was already anticipated, in the same way as an adult film.
In Playboy TV, actors and actresses almost never advance the plot. There are dead times, prior insulous, lack of empathy, pure superficiality. The audience knows what they are going to offer and is content with that. The plot is not interested: the action reigns.
In ravages, Evans’ libido – all a specialist in action sequences – seems to be one hundred percent put in action sequences. An impressive technical self -confidence worthy of admiration.
That is good for the movie: The ravage action scenes are of a much higher quality to those of other productions of the genre available in Netflix, such as – for just mentioning three – the gray man, Salt Agent or London under fire.
They do not serve the plot too much, but they generate small and confirms shocks of stimuli that the spectator who challenges them needs.
For their action scenes, whose best exponents appear in La Redada (The Raid), migrate y The apostleEvans does not usually make many cuts and record with camera in hand.
In order for action to look more frantic and realistic, on many occasions he uses a Fig Rigthat, said in Creole, is something like a steering wheel that holds the camera and makes it rotate quickly to the taste of the cameraman. That is why there are changes of sudden angles and few cuts. The weapons you use are replicas and the flashes, computer made.
Specifically for fights, Evans combines liters of blood with elegant techniques of martial artsan Indonesian martial art that he knew how to exploit like nobody in the cinema thanks to what he made as a filmmaker in Indonesia.
In that country he met his fetish fight choreographers, Powerful malesis y Yayan Ruhianwho inspired those responsible for John Wick and, consequently, those of the new films John Wick Style.
For all this, although the definitive product is not entirely satisfactory, ravages at times enjoys a very high technical quality that no one can say anything.
