“Eliminators” is a rough and aggressive action thriller that revolves around Thomas, an old federal agent who has gone into hiding due to being an outcast but he is roused to save his daughter against an unstoppable and lethal opponent. Thomas battles off intruders in his home in London right in the opening sequence of the film, which sets a tone of roughness and realism at the beginning. Through the progression of the plot, we can observe Thomas in a world of betrayal, revenge and conspiracy and in the process trying to keep his daughter out of the grasp of ruthless killers who have been dispatched to kill him. This story is propelled by a sense of urgency which cannot be stopped and every twist of the story raises the stakes and challenges Thomas to his physical and emotional end.
The movie is strong in its action-packed and fast-moving sequences. The battle scenes are dirty and down to earth with a focus on being real rather than spectacular, which assists in creating an aura of authenticity and immediacy. The London scenery is well utilized and places such as the cable car and dockyard are used to give the movie a cinematic context in the face-to-face confrontations and chases. The determination of the character of Thomas is gritty and the emotional essence of a father struggling to save his child is an extension to the unrelenting violence. The sinister characters, the deadly hitman Bishop in particular, are realized with threat and ability and every confrontation seems individual and hazardous.
However, the thing that impressed me the most is that the film showed the determination of a father in the middle of the disorder. The savagery and the ruthless movement are visceral, exhilarating and tense. However, even with its violent overtones, “Eliminators” turns out to be a tale of hope and survival whereby even in the worst of times a father would be willing to fight against all those odds, purely because of his love. It gave me an adrenaline rush and a tremendous appreciation of the primal power of human will.
