Interceptor (2022)

Interceptor is the kind of high-concept, locked-room action thriller that grabs you by the collar and refuses to let go: one remote missile base, one relentless assault, and one soldier who has to outthink and outfight everyone in her way. Elsa Pataky sells the premise with a bruising, committed physical performance that makes every scramble down a corridor and every desperate decision feel earned, even when the movie leans into pulpy, “can you believe this?” momentum. Director Matthew Reilly keeps the vibe lean and urgent, staging punchy set pieces that play like a pressure cooker rather than a globe-trotting spectacle. It’s not for the squeamish—there’s harsh violence and heavy subject matter—but if you’re on the fence and want an unapologetically entertaining, slightly absurd adrenaline ride, this one hits the target.

Interceptor is clearly trying to be a Die Hard-style siege thriller with a capable, wronged hero holding the line against impossible odds, and Elsa Pataky commits to the physicality. The problem is the movie leans on painfully predictable beats, clunky dialogue, and plotting that feels like it’s sprinting past logic just to reach the next fight, with CGI that often looks distractingly cheap. The tone also mixes heavy subject matter (including sexual misconduct context and graphic violence) with B-movie execution, which can feel tasteless rather than tense. If you can enjoy a loud, dumb, single-location action romp and don’t need realism or sharp writing, you might get some guilty-pleasure fun; otherwise, this will likely test your patience.