Interceptor by Matthew Reilly (2022)
A throwback to the sort of low-budget action fare that seemed to dominate cable TV in the ’90s. As such, it’s entertaining but totally clichéd, right down to the heroine’s one-liners. Even its “wokeness” — the heroine is a military sexual abuse survivor, the villain is (supposedly) driven by his disgust with America’s inequities, one of his henchmen is basically a Proud Boy — feels rote.
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