The opening scene of “Interceptor” (2022) is a frenetic burst of action: Captain JJ Collins (Elsa Pataky) sprinting across the tarmac, missiles screaming overhead, and the remote Pacific interceptor station exploding in a fireball. It’s a visceral hook, but one that sets an impossible bar for Matthew Reilly’s directorial debut.

Reilly, best known as a novelist of high-octane thrillers, translates his signature style to the screen with relentless pacing and explosive set pieces. The film’s premise—a rogue AI targeting U.S. nuclear missiles—is pure pulp, but it’s executed with a verve that keeps the audience on the edge of their seats. The action sequences are the film’s undeniable strength, particularly a late-game showdown involving a missile silo and a jet ski (yes, really). Reilly stages these set pieces with an eye for kinetic energy, using tight close-ups and rapid cuts to amplify the tension.

Yet “Interceptor” stumbles when it attempts to slow down. The script, also by Reilly, is a mess of clunky exposition and underdeveloped characters. Pataky’s JJ Collins is a competent action hero, but she’s given little to do beyond running, shooting, and delivering lines like “I’m the only one who can stop this” with grim determination. Luke Bracey fares even worse as Alexander Kessel, the film’s ostensible villain, whose motives are never fully explained.

The supporting cast is a mix of familiar faces and relative unknowns, but none leave much of an impression. Aaron Glenane as Beaver Baker and Belinda Jombwe as Ensign Washington have moments of charm, but their characters are so thinly sketched that they might as well be named “Tech Guy” and “Female Soldier.”

Where “Interceptor” truly falters is in its attempt to balance action with exposition. The film’s second act devolves into a series of lengthy monologues explaining the plot’s convoluted mechanics. Reilly tries to inject some humor—like a running gag about JJ’s dislike of jet skis—but it falls flat amidst the weighty stakes.

Visually, the film is a mixed bag. The cinematographer favors handheld camerawork and dim lighting, which adds to the claustrophobic atmosphere but also makes it difficult to discern what’s happening in key action sequences. The score is serviceable but forgettable, relying too heavily on pounding percussion to convey tension.

“Interceptor” is a film that knows exactly what it wants to be: a thrill ride devoid of subtlety or depth. It delivers on its promise of non-stop action, but at the cost of coherent storytelling and memorable characters.