Review: In ‘Extraction 2,’ Chris Hemsworth returns as mercenary Tyler Rake. But why? 

Extraction 2 - Chris Hemsworth as Tyler Rake (Producer), Tinatin Dalakishvili as Ketevan, Andro Jafaridze as Sandro in ‘Extraction 2.’ (Netflix)
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Updated 30 June 2023
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Review: In ‘Extraction 2,’ Chris Hemsworth returns as mercenary Tyler Rake. But why? 

DUBAI: It’s hard to imagine anyone was massively upset when Chris Hemsworth’s mercenary-with-a-heart Tyler Rake appeared to have died at the end of 2020’s “Extraction.” It was a decent action-thriller, sure, but it certainly didn’t seem to be crying out for a sequel.  

That’s not what the money men thought though. And so “Extraction 2” kicks off with a ‘Directing For Dummies’-style montage which sees Rake’s not-quite-dead body patched up and flown to a private hospital in Dubai where he’s made whole again — after some unconvincing attempts to insert some jeopardy into that arc by having Rake question whether he’ll ever be able to function as a soldier again. Spoiler: he will.  

What it takes to get him to that point is a visit from Idris Elba (playing an unnamed recruiter acting on behalf of Rake’s ex-wife, whose sister and her children are locked in a Georgian prison with the sister’s abusive mob-boss husband. Rake is hired to break them out.) Elba, even though he’s clearly phoning it in at around 30 percent of his potential star wattage, is still comfortably the best performer in the cast.  

That’s symptomatic of the main problem with “Extraction 2.” As an action-thriller it’s OK, in that it’s action-packed and often thrilling, with some gripping set pieces and nicely choreographed (if occasionally clunky, particularly when Hemsworth isn’t directly involved) fight scenes, but writer Joe Russo and director Sam Hargrave want the audience to feel something beyond an adrenaline rush. And that’s a mistake.  

The 40 minutes or so of the movie that aren’t all about the action drag interminably for two reasons: the writing and the acting. The attempts to explore the tragedy at the heart of Rake’s separation from his ex are particularly egregious and must surely pique the interest of whoever’s putting together the nominations for next year’s Razzies. Hemsworth has talents, for sure, but portraying genuine emotion other than stoic determination or wisecracking cockiness doesn’t appear to be one of them, at least on this evidence.  

This is one of the more cynical franchise expansions of recent times (and yes, that’s saying something), building on an already wrapped-up story in a way that doesn’t add anything to that story. And yet, as the ending makes clear, “Extraction 3” is already on the way, unstoppable as Tyler Rake, who will, coincidentally, also create enormous messes if there’s enough money involved. 


Review: ‘Sorry, Baby’ by Eva Victor

Eva Victor appears in Sorry, Baby by Eva Victor, an official selection of the 2025 Sundance Film Festival. (Supplied)
Updated 27 December 2025
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Review: ‘Sorry, Baby’ by Eva Victor

  • Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character

There is a bravery in “Sorry, Baby” that comes not from what the film shows, but from what it withholds. 

Written, directed by, and starring Eva Victor, it is one of the most talked-about indie films of the year, winning the Waldo Salt Screenwriting Award at Sundance and gathering momentum with nominations, including nods at the Golden Globes and Gotham Awards. 

The film is both incisive and tender in its exploration of trauma, friendship, and the long, winding road toward healing. It follows Agnes, a young professor of literature trying to pick up the pieces after a disturbing incident in grad school. 

Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character. The story centers on Agnes’ perspective in her own words, even as she struggles to name it at various points in the film. 

There is a generosity to Victor’s storytelling and a refusal to reduce the narrative to trauma alone. Instead we witness the breadth of human experience, from heartbreak and loneliness to joy and the sustaining power of friendship. These themes are supported by dialogue and camerawork that incorporates silences and stillness as much as the power of words and movement. 

The film captures the messy, beautiful ways people care for one another. Supporting performances — particularly by “Mickey 17” actor Naomi Ackie who plays the best friend Lydia — and encounters with strangers and a kitten, reinforce the story’s celebration of solidarity and community. 

“Sorry, Baby” reminds us that human resilience is rarely entirely solitary; it is nurtured through acts of care, intimacy and tenderness.

A pivotal scene between Agnes and her friend’s newborn inspires the film’s title. A single, reassuring line gently speaks a pure and simple truth: “I know you’re scared … but you’re OK.” 

It is a reminder that in the end, no matter how dark life gets, it goes on, and so does the human capacity to love.