Despite the unbelievability of the premise… entertaining
An action-espionage-drama following Anna, a poor woman from Russia with a heavy burden of suffering who is ready to give up on life. At her nadir, a man swoops in with an unlikely offer — become a spy, in exchange for a decent life.
Despite the unbelievability of the premise, the film is otherwise quite believable. The movie’s made up of several segments which end in a twist, the scenes then rewinding to show us what really happened. Entertaining and shocking, but this shtick begins to wear thin by the end.
An entertaining and exciting flick with good acting all round.
© 2021 Bryan A. J. Parry
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a fairly standard hijacker flick with a horror movie twist.
A terminally ill mother boards a transatlantic flight with her son to get specialist medical treatment overseas. However, when the plane is hijacked by a group of terrorists, she is forced to take action and do something she hoped she’d never have to do.
Blood Red Sky is a fairly standard hijacker flick but with a horror movie twist. The horror spin gives the film something extra, but the basic hijacker story is thrillingly acted and directed.
Mother and child are played well by Peri Baumeister (Nadja) and Carl Anton Koch (Elias), but the movie is frankly stolen by supporting acts Kais Setti (Farid) and mesmeric Alexander Scheer (Eightball).
The movie plays slightly better if you don’t know the nature of Nadja’s mystery illness before watching it. Sadly, all of the publicity spills the beans. None-the-less, the film is still very entertaining. A slightly unoriginal story whisks us along in the wake of its taut hijacking.
© 2021 Bryan A. J. Parry
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straight-up, thrilling cinema with no pretensions
Veteran 911 operator Jordan (Halle Berry) receives a call from a teenage girl, Casey (Abigail Breslin), who has just been abducted and is currently locked in the boot of her kidnapper’s car. As would-be killer Michael (Michael Enklund) drives Casey to an unknown location for a certain death, Jordan must battle her own demons and find Casey — before it’s too late.
The Call is a tense, non-stop, thoroughly riveting thrill-ride. The performances all round were great, Michael Eklund giving a big but convincing turn as murderer Michael, and the direction was accomplished and what we would expect from Brad Anderson. The use of different kinds of minority characters, without rubbing our faces in the production’s self-righteousness, was actually refreshing and empowering and not at all distracting.
The very last moment of the film was admittedly somewhat forced, although only if we take our characters’ word for it, which I didn’t (no spoilers, so sorry for the vaguery). And some critics have poo-pooed the third act, but I found it a believable and natural development of the story. Frankly, The Call is the exact kind of film that the critics love to hate: it’s just straight-up, thrilling cinema with no pretensions.
A tense thriller not to be missed.
© 2020 Bryan A. J. Parry
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