Decent acting from Sam Worthington and Phoebe Tonkin can’t save this moody action flick from a lacklustre script, which contains no surprises
am Worthington spends lots of time looking intensely glum in Transfusion, matching the tone of the writer/director Matt Nable’s quietly moody action-drama. You can’t blame the guy: not long ago Worthington was swimming in shimmering oceans on a. Now, in this sombre Stan original film, Worthington plays Ryan Logan, a former sniper for the Australian Army who is struggling to adjust to normal society.
The film’s first scene establishes Ryan’s backstory: a mission in Iraq injured him both physically and psychologically. The second provides some father-son camaraderie: Ryan has a very macho bonding scene with eight-year-old Billy , as the pair hunt for deer.
Again the setup is obvious: you know the boy is going to get in trouble. And when a former SAS colleague, Johnny , comes along offering some easy, albeit illegal, work, you know the opposite is true: working for Johnny is going to be difficult and precarious, and we know Ryan will end up putting everything on the line for himself and his son.
An inevitable mishap involving Billy sends Ryan scurrying into a life of crime in order to get money – because formula, because algorithm, because he’s going to get In Over His Head. Even the film’s most surreal flourish is deeply templated: the posthumous presence of Justine, who as a ghost , encourages him to make better decisions; the old “angel on his shoulder” chestnut.
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