BTL Radio Show – 04/27/2026 with special guest, director DAVID MACKENZIE discussing FUZE

As promised, this week on BEHIND THE LENS is all about director DAVID MACKENZIE and his new explosive film, FUZE.

Directed by David Mackenzie and written by Ben Hopkins, FUZE boasts an amazing cast – Aaron Taylor-Johnson, Theo James, Saffron Hocking, Gugu Mbatha-Raw, Elham Ehsas, and Sam Worthington.

Executed with razor-sharp precision, FUZE is a tightly coiled, high-wire heist thriller that unfolds like a cinematic shell game—constantly shifting perspective, redirecting attention, and daring audiences to keep up. Built around the discovery of an unexploded World War II bomb in London, the film uses its premise not just as a ticking clock, but as the perfect cover for a meticulously orchestrated crime.  As authorities race against time to contain the crisis, alliances blur and moral boundaries are crossed, the film deftly propels audiences through a series of calculated twists, delivering a wildly entertaining ride.

One of the real strong suits of FUZE is that the unexploded WWII ordnance is a very real thing in Europe and the UK.  As a matter of fact, just three days before David and I spoke last week, an unexploded bomb was found in Europe.

So with a WWII bomb as a starting point, FUZE layers in a bank heist, so we’re watching two big events unfolding at the same time.  But then you have to look at all of the players – the military doing the defusing led by Aaron-Taylor Johnson as the bomb expert, the law enforcement led by a very strong Chief Inspector played by GuGu Mbatha-Raw, and then our criminals led by Theo James and Sam Worthington.   Performances are beyond reproach and the intensity that each of our main characters has is riveting – in addition to Mbatha-Raw, Johnson as Major Tranter, James as Karalis, and Worthington as “X”.  But not to be overlooked are the work from supporting players Alexander Arnold, Honor Swinton Byrne, and Elham Ehsas.

The twists and turns, and seeing these three main story elements play out is like watching a shell game.  Just when you think you know which shell the pea is under, you discover it’s not there.  The hand is quicker than the eye.  And with FUZE, while you’re trying to watch all the shells, you’re not focusing on the young Corporal who finds it suspicious that the bomb is shiny where there should be 85 years of rust.  And what about the locals who are pressuring the police to let them back into their homes?  And just who are these criminals pulling off the bank job – and why in hell are they leaving the gold bars!

FUZE rises and falls on its editing, and David is working once again with editor Matt Mayer, who crafts a relentless rhythm that drives the film forward with near-surgical intensity. With over 300 scenes packed into just over 90 minutes, the editing is lean, jagged, and deliberately disorienting—in the best possible way. Cuts come just before you expect them, pushing the narrative forward while subtly denying the audience time to fully process what they’ve seen.

And then there’s the wonderful cinematography from Giles Nuttgens, who reunites with David to deliver a masterclass in controlled realism.  Tightly composed two-shots and close-ups keep audiences focused on the mechanics of the moment—bomb disposal procedures, vault breaches, tactical movements—while quietly obscuring the larger truth hiding in plain sight.

But then there’s the score courtesy of  Tony Doogan, who reteams with David for the fourth time, delivering music that builds like a tightening coil—minimalist, rhythmic, and relentless, pulsing beneath the action and amplifying tension.

And just when we think tension is ratcheted up as high as it can go, David Mackenzie zings us with a brilliant tonal shift and comedic release.

It is always a joy to speak with David.  He teased me a few months ago about FUZE when we were discussing “Relay”.  Everything he baited me with was an understatement once I saw FUZE.  So get ready, sit back, and take a listen as David Mackenzie and I discuss “FUZE,” from the original story and its visual interpretation to its clarity, believability, and structured narrative, which builds tension through editing. And how about those 300+ scenes and a tight edit!  David talks about working with cinematographer Giles Nuttgens again and their organic shooting style, practical lighting, and the dynamic between characters, particularly the chief superintendent and her team. And we get into the score and specific performances, particularly from Theo James and Sam Worthington.

FUZE is in theatres now!

And as a reminder, TCM Film Festival starts this Thursday, April 30th, in Hollywood at the fabulous TCL Chinese Theatre with “home base” at the also legendary Hollywood Roosevelt.  I’ll be on the red carpet Thursday night and bouncing around the fest through the weekend.  Tickets are still available, and I believe some passes are as well.  Go to tcm.com for all of your festival information!

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