Extraction 2 movie review & film summary (2023)

Tyler used to be a special forces soldier with the Australian Army. He chose to go to Afghanistan for yet another tour of duty while his son was battling an incurable disease and was not present when the boy died. Then his marriage fell apart and he became a mercenary. Guilt over husbandly and parental failure is as much of a driving force in the “Extraction” franchise as amnesia in the “Bourne” films and mourning in the “John Wick” series. Tyler’s adventures are redemption stories, set in action movie purgatories filled with shadow versions of the hero: defective fathers who mistreat, neglect, or warp their children and see them as extensions of their ego or brand. Tyler’s main enemies are dark parents who could be stand-ins for Tyler’s own masochistic feelings about how badly he failed his family.

The first “Extraction” showed Tyler rescuing the kidnapped son of an Indian drug lord who was being held in Dhaka, Bangladesh. The kid was a pawn in a pissing match between rich bullies with private armies. In accepting the mission Tyler offered himself up as a karmic punching bag, absorbing punishment for his past mistakes in an urban hellhole-purgatory (in the original graphic novel, the setting was Paraguay) while serving as a quasi-father figure to the boy he was protecting. In this one, an unnamed man (Idris Elba, so charming that one hopes he’ll be in the third one) shows up at the cabin in the woods where Tyler is recovering from the previous mission and delivers a message from his ex-wife, who, as it turns out is Georgian. Her sister and her children are being held in a Georgian prison by her drug dealer husband Davit (Tornike Bziava), who had the clout to get them all ensconced with him. Rake is hired to bust the family out of prison and take them away from Davit and his brother Zurab (Tornike Gogrichiani), who’s even more of a psycho. Complications ensue. All you need to know is that the film is three long action sequences with a bit of character development sprinkled in.

Like the long take in the original “Extraction,” it has a video game feeling. Cinematographer Greg Baldi’s camera often adopts a first-person or over-the-shoulder vantage point, as in a “shooter” game. The point-of-view moves in and out of moving train cars, varies its distance to get tight closeups of people’s anguished faces or panoramas full of moving vehicles and people, and generally does things that are against the laws of physics as well as the rules of production insurance companies. Despite the Eastern European blue-gray filters and bloodletting and bone-crunching, you’re aware that that the sequence is no more “real” than the Avengers battling Thanos. Some composited landscapes and helicopters don’t pass the believability test, and a few big cameras moves that take us from outside to inside and vice-versa are too clever for their own good. But it’s all so intricate and expertly timed that you still appreciate it, as one might a performance of a piano concerto so difficult that just hitting the notes is beyond most players’ capabilities.

The other two major sections of the film are modeled, respectively, on the first “Die Hard” and one of John Woo’s classic doppelgängers-battle-each-other films (probably “The Killer,” which like this film, climaxes in a candlelit church with doves fluttering about). They’re imaginatively conceived and executed with no-fuss virtuosity, though the cutting is sometimes too frenetic and the camerawork too wobbly (a lot of the time, Hargrave is doing a modified version of that Russo Bros’ “shaky equals excitement” style). But they face the unusual problem of being good enough to anchor nearly any other action epic yet feeling like a letdown because they follow that jailbreak-to-railway sequence.