Extraction

1 THE ONER

John Nugent: It was heavily trailed by Netflix, and came with much bluster and some hyperbole (“the best Oner we’ve ever seen”, raved the Russo Brothers on Twitter). But this might be the rare case of hype being justified. The 12-minute sequence, in which the camera seemingly never cuts (though there are hidden edits, masked by CGI), staged across apartments, balconies, bustling streets and inside moving vehicles, is the film’s audacious highlight. Kudos to Sam Hargrave: you won’t find many directors ready to strap themselves to the front of a car travelling at 60 miles an hour.

The impetus was to have the] like this and were like, “SON OF A...!”, but then once you see it the feeling is very different.