Name: Collision
Genre: Thriller, Crime, Drama
Released: 2022-06-16T00:00:00+00:00
Cast: Langley Kirkwood, Tessa Jubber, Zoey Sneedon, Bonko Khoza, Mpho Sebeng

The opening shot of Fabien Martorell’s “Collision” (2022) is a slow-motion crash—a sleek black car careening into another vehicle, metal groaning and glass shattering. It’s an apt metaphor for the film that follows: a high-speed, often brutal thriller about the day a corrupt businessman and his socialite wife scramble to save their daughter from a crime lord.

Martorell, known for his tight pacing in shorts like “The Last Light,” brings that same relentless momentum to “Collision.” The film’s strength lies in its kinetic energy, particularly in the chase sequences. A standout scene finds Johan (Langley Kirkwood) weaving through Johannesburg traffic in a stolen car, Martorell’s camera mounted on the hood, the city blurring past in a dizzying rush. The sound design amplifies this—tires screeching, engines revving, all punctuated by the ominous thud of impacts.

The performances are a mixed bag. Kirkwood’s Johan is compelling in his desperation, particularly in a quiet moment where he confesses to his wife (Tessa Jubber) that their wealth has been built on lies. This scene, shot in a dimly lit study with the camera lingering on Kirkwood’s face as shadows play across it, reveals the depth of Johan’s guilt and fear. It’s a rare moment of vulnerability in a film otherwise dominated by action.

Jubber, however, feels one-note as Diane. Her character is introduced in a glamorous scene at a high-society gala, but her performance never evolves beyond superficiality. She delivers lines about their daughter’s kidnapping with the same detached tone she uses to discuss dinner parties, making it hard to invest in her emotional arc.

The real standout is Zoey Sneedon as Nicki, the kidnapped daughter. Though her screen time is limited, her brief but harrowing scream during a tense standoff—captured in a single take that lingers on her terrified face—lingers long after the scene ends. It’s a raw, unfiltered moment of fear that grounds the film in emotional reality.

Where “Collision” falters is in its script’s reliance on coincidence. The Gresers’ plan to rescue Nicki hinges on a series of unlikely events, including a last-minute betrayal that strains credibility. The film also suffers from uneven pacing; the final act drags as Martorell lingers on expository dialogue when he should be pushing forward with action. A subplot involving a morally ambiguous cop (Siphesihle Vazi) feels tacked-on rather than woven into the narrative.

Martorell’s direction is confident, but his choices aren’t always fresh. Too often, “Collision” leans on thriller tropes—slow-motion gunfights, a ticking clock, a morally ambiguous cop. The film’s attempts at social commentary on wealth and corruption feel tacked-on rather than woven into the narrative. A scene where Johan visits a shanty town to plead for help feels out of place, as if Martorell is checking a box for “social relevance” without fully exploring the themes.

That said, “Collision” delivers what it promises: a tense, adrenaline-fueled ride. The film’s technical aspects are polished, with crisp cinematography and a driving score that amplifies the tension. The sound design is particularly noteworthy, using silence as effectively as noise to build suspense. A scene where Johan sneaks into a crime lord’s compound is nearly silent, save for the distant hum of a generator and the occasional creak of a floorboard.

The supporting cast is solid but unspectacular. Bonko Khoza as Larry, a reluctant accomplice, delivers a grounded performance that adds texture to the film’s otherwise two-dimensional characters. Mpho Sebeng as Thando, the crime lord’s enforcer, brings a menacing presence to his scenes, even if his character arc is predictable.

“Collision” is a film for fans of high-stakes thrillers who can overlook some structural flaws. It’s not groundbreaking cinema, but it’s entertaining enough to hold attention. The film’s exploration of wealth and corruption adds a layer of depth, even if it’s not fully realized. Martorell shows promise as a director capable of crafting tense, visually engaging sequences.

In the end, “Collision” is a solid entry in the thriller genre, but it doesn’t stand out among its peers.