“FUZE”

Following the paranoia thriller “Relay,” which had its world premiere at the 2024 Toronto International Film Festival, director David Mackenzie returns with another high-concept whodunnit that slightly falls apart in the final act. In “Fuze,” Mackenzie overlaps an intricate heist plot with a ticking time bomb, set against the backdrop of a busy London core. The story that unfolds in the first hour is a tightly constructed prelude for the chaotic twists and turns in store, laying the groundwork for shifting loyalties and selfish motivations. Just when you think one character has the upper hand, another topples over the chess board entirely. While Mackenzie proposes an intriguing web of blurry allegiances, the ticking clock concept of “Fuze” gets repetitive and ultimately loses tension in its final hour.

When an old bomb from the World War II era is discovered in a construction site, army major Will (Aaron Taylor-Johnson) springs into action to assess the risk factors. Will maintains communication with authority figures Zuzana (Gugu Mbatha-Raw) and Clareese (Honor Swinton-Byrne), who oversee the site in real-time as police usher innocent bystanders to safety. The bomb detection proves to be the perfect distraction for a nearby group of bandits, seemingly led by a man named Karalis (Theo James), who have just robbed a local bank. Plans start to go south when the bomb and bank storylines fuse into one, unveiling the characters’ real intentions and complicated relationships to one another.

For the opening shots, Mackenzie wastes no time establishing focus on the construction site as his film’s source of tension. He introduces key players from multiple vantage points — including the military, local police, and innocent bystanders — to mount pressure onto an active time fuse. Amidst back-and-forth communications between the authorities, the film occasionally cuts to brief character interactions meant to stir intrigue and infuse mystery into a rather generic plot. In particular, one family of bystanders are left wondering when they can make an upcoming flight; they had been evacuated from their apartment building, and as it turns out, their flat becomes entangled with the heist storyline.

On a technical front, the film shows great finesse in balancing the overlap of perspectives and locations. From ground-level action to tunnel chases and aerial operations, Mackenzie has a precise eye for how to best utilize the settings. Matt Mayer’s frenetic editing and [name]’s score also help create an intense environment, but their work ends up doing a lot of heavy lifting to keep the viewer engaged. However, Ben Hopkins’s screenplay leaves a lot to be desired; it lacks the cleverness and personality to stand out beyond the story’s concept.

While it’s not particularly an issue that the film navigates a handful of perspectives, there is no consistent hook for the viewer to latch onto and feel compelled to follow. Additionally, while the film features solid performances across the board, the characters are missing distinctive personalities and well-constructed motivations. A perplexing time jump at the end of “Fuze” attempts to shake things up, but it only adds to the film’s apathy when it comes to memorable character dynamics. Unfortunately, the talented ensemble are given two-dimensional characters to work with. Of the star-studded cast, Theo James achieves the most impressive feat of infusing a forgettable role with a memorable presence and energy.

While “Fuze” initially pulsates with promise, especially given the thrilling-sounding plot and wonderful ensemble, the intrigue eventually disappears entirely. There’s a missed opportunity here for the viewer to dig deep and engage in uncovering the true nature of the characters and their intentions. The film struggles to find an effective core focus that ties all the narratives together in a cohesive and entertaining manner. Ultimately, “Fuze” lacks the precision in its writing to make the twists and turns worthwhile.