Fast, clever and satisfying, ‘Fuze’ is a throwback thriller with a ticking time bomb

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David Mackenzie’s “Fuze” springs to life in a millisecond.

A construction worker in central London accidentally discovers a World War II bomb that’s still active, and it’s begun counting down. With a potential blast zone stretching half a mile, Chief Supt. Zuzana (Gugu Mbatha-Raw) leads the effort to evacuate thousands of people to Hyde Park. While a military team led by Maj. Tranter (Aaron Taylor-Johnson) attempts to defuse the bomb, a group of thieves – Karalis and X (Theo James and Sam Worthington) – takes advantage of the chaos to rob a bank.

So, the movie follows three different crews all working towards their own objectives. But the real heart of the story, for me, is this guy Rahim (played by Elham Ehsas). He’s stuck in Hyde Park, totally stressed because his family is supposed to be on a flight that evening. They’re going to get pulled into things too, though his dad, who uses a wheelchair, is hilariously confused – he keeps saying nobody ever fills him in on what’s happening! Honestly, I felt that one – I’m always in the dark too!

I really enjoyed “Fuze” at last year’s Toronto International Film Festival. While it’s not aiming for awards like some of the other films there (Mackenzie’s 2016 film “Hell or High Water” received some Oscar attention), it’s simply a well-made, entertaining movie. It keeps you guessing as you watch skilled professionals at work, and I walked out feeling thrilled and completely turned around by its unusual portrayal of good and bad guys.

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As a film lover, I was really impressed with the performances from Tessa Thompson, Amanda Seyfried, and Jessie Buckley at TIFF this year. Their movies genuinely stood out – and that’s saying something, because the festival had so many great films competing for attention. They really rose to the top!

This film’s script, written by Ben Hopkins (who also wrote the 2023 film “Inside”), feels more like a complex machine than a story about people. Initially, you’re struck by its ambitious scope. Then, you begin to understand how all the details connect. Just when you think you’ve figured everything out, a final twist forces you to reconsider the entire story from a new angle.

This movie clearly has some strong viewpoints about power and control, but they’re mostly implied rather than stated directly. The characters are all doers, not talkers—especially Taylor-Johnson’s character, a seasoned war veteran. He’s remarkably composed under stress, demonstrated by a stunningly accurate long-distance shot right at the beginning. Typically, characters like this come off as either boring or unrealistically self-assured, but here, he’s genuinely captivating, completely focused on the mission. Like the other main characters, he doesn’t waste time explaining his actions to the audience.

The acting throughout is polished and restrained, avoiding any over-the-top displays. Jokes in “Fuze” often come across as nervous subordinates hesitantly asking to speak, only to be sharply dismissed by Tranter – but his bluntness is delivered with such assurance that it’s amusing. Even Tranter, however, has someone above him: General Minton, who arrives to assert his authority and upset the established dynamic.

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“Fuze” doesn’t focus much on conversation; instead, it’s a study of how pressure and obedience play out in a work environment. The robbers themselves have a hierarchy, with internal divisions becoming clear. It’s likely that James’ Karalis or Worthington’s X are pursuing their own agendas within the larger plan. While the other criminals aren’t particularly memorable, the actors Shaun Mason and Nabil Elouahabi deliver strong performances.

The film relies on Matt Mayer’s quick, dynamic editing to keep the story moving. Director Mackenzie doesn’t give viewers much time to process what’s happening, though most questions are eventually answered. This skillful approach creates a unique feeling – you’re both tense and strangely reassured that the characters know what they’re doing. Unexpected events are constantly unfolding, but the fast pace prevents you from anticipating them, much like the character played by Dragos Bucur who feels helpless, saying he knows something’s wrong but can’t figure out what it is.

The film’s various storylines don’t always align, and some characters won’t make it to the end. One particular group disappears near the end, surprisingly without anyone noticing. The ending feels a bit forced at first, but looking back, it’s actually essential, changing the movie’s meaning from a complex mystery to a statement about the importance of teamwork. It’s only after the credits roll that you realize Mackenzie has crafted a thriller centered around the theme of trust. These groups – and the hidden connections between them – are bound together by shared responsibility, family ties, or simply being in the same situation. Ultimately, one of these bonds proves to be the strongest.

“Fuze” feels a bit like a polished TV show, almost to a fault. The actors are all strikingly attractive, perhaps unrealistically so for their characters. The music, composed by Tony Doogan, relies a little too much on predictable electronic sounds – the kind often used to build tension before commercials. However, when the techno music swells during intense moments, it’s incredibly effective. Fittingly, the show ends with a burst of energy thanks to a punk rock cover of “Police & Thieves” by The Clash.

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2026-04-24 00:31