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Gareth von Kallenbach (971 KP) rated Sinister (2012) in Movies
Aug 7, 2019
Sinister is a movie that surprised me. I love scary movies, but most of the time it is the pure humor that I find in what people think is scary these days that makes me love them. I figured I would walk into this movie and leave in the same mood I always do. Laughing about how many people jumped in the theater because of what happened on screen. But, this time, I was one of those people. For the first time in over a decade I found a scary movie that downright creeped me out and made me jump. Not just once, more several times.
Sinister opens with old super-8 footage of a family of four being hung from a tree in a rather unique way. The movie is set in a small town in Pennsylvania where Ellison Oswalt (Ethan Hawke; Training Day, Daybreakers) and his family (wife, daughter and son) are moving into a new house. Ellison is a true-crime writer, who hasn’t had a best-selling book in 10 years. His work in the true-crime field did not garner him any favor with the local law enforcement, and the Sheriff in particular would rather see him leave. Shortly, we realize that the house the Oswalt family has moved into the same house that the family in the opening scene lived in, this family is the basis for the book he is writing, and the house is also where they were murdered. This is unbeknownst to the family, except for Ellison himself.
Ellison finds a box in the addicts that is labeled home movies, and it contains several reels of super-8 footage. This footage helps him realize how and why the family from the opening scene were murdered, and their murders spanning from the late 60s to present day. Even more daunting, his discoveries as he moves forward in his investigation place his entire family in the path of a supernatural entity.
I am a firm believer that a film’s score can make or break a movie, despite how good the story is. Sinister did not fail in this department. With haunting melodies littered throughout the movie, and excellent timing by all punctuations, this film will definitely have you tense at exactly the right moments. The one bad thing I can say about this movie, and it was really more of a distraction than a bad thing, was Ethan Hawke’s voice. His voice seemed unnaturally deep compared to my experience with him in his previous roles, a thought which was echoed by many of my fellow critics in the theater. Overall, though, the movie was fantastic. With two interesting cameos in the movie, and a great little role for James Ransone (Inside Man, The Next Three Days), a relative known, and stellar acting from Ethan Hawke, this is a definite must see. Especially for date night, if you’re significant other is into scary movies that is.
Sinister opens with old super-8 footage of a family of four being hung from a tree in a rather unique way. The movie is set in a small town in Pennsylvania where Ellison Oswalt (Ethan Hawke; Training Day, Daybreakers) and his family (wife, daughter and son) are moving into a new house. Ellison is a true-crime writer, who hasn’t had a best-selling book in 10 years. His work in the true-crime field did not garner him any favor with the local law enforcement, and the Sheriff in particular would rather see him leave. Shortly, we realize that the house the Oswalt family has moved into the same house that the family in the opening scene lived in, this family is the basis for the book he is writing, and the house is also where they were murdered. This is unbeknownst to the family, except for Ellison himself.
Ellison finds a box in the addicts that is labeled home movies, and it contains several reels of super-8 footage. This footage helps him realize how and why the family from the opening scene were murdered, and their murders spanning from the late 60s to present day. Even more daunting, his discoveries as he moves forward in his investigation place his entire family in the path of a supernatural entity.
I am a firm believer that a film’s score can make or break a movie, despite how good the story is. Sinister did not fail in this department. With haunting melodies littered throughout the movie, and excellent timing by all punctuations, this film will definitely have you tense at exactly the right moments. The one bad thing I can say about this movie, and it was really more of a distraction than a bad thing, was Ethan Hawke’s voice. His voice seemed unnaturally deep compared to my experience with him in his previous roles, a thought which was echoed by many of my fellow critics in the theater. Overall, though, the movie was fantastic. With two interesting cameos in the movie, and a great little role for James Ransone (Inside Man, The Next Three Days), a relative known, and stellar acting from Ethan Hawke, this is a definite must see. Especially for date night, if you’re significant other is into scary movies that is.
Matthew Krueger (10051 KP) rated Frankenstein Meets the Wolf Man (1943) in Movies
Oct 15, 2020
Lon Chaney Jr. (1 more)
Bela Lugosi
Huge Disappointment
Contains spoilers, click to show
Frankenstien Meets The Wolf Man- was a huge disappointment but ill get to that later. First lets talk about the film.
The plot: Lawrence Stewart Talbot (Lon Chaney Jr.) is plagued by a physical oddity that turns him into a crazed werewolf after sundown. His desire to rid himself of this ailment leads him to the castle owned by mad scientist Dr. Frankenstein. Frankenstein, it turns out, is now dead, yet Talbot believes that the scientist's daughter, Baroness Elsa Frankenstein (Ilona Massey), can help him. However, his quest to right himself puts him on a collision course with Frankenstein's monster (Bela Lugosi).
This was the first of a series of "ensemble" monster films combining characters from several film series. This film, therefore, is both the fifth in the series of films based upon Mary Shelley's 1818 book Frankenstein; or, The Modern Prometheus, directly after The Ghost of Frankenstein, and a sequel to The Wolf Man.
As ultimately edited and released, Frankenstein Meets the Wolf Man is told in two almost equal parts. The opening scenes tell the story of Talbot's resurrection, killing spree, hospitalization, and escape across Europe. Much time is spent with a secondary policeman, Inspector Owen, and on scenes with a desperate Talbot hospitalized by Dr. Mannering. The discovery of the Monster and pursuit of Dr. Frankenstein's scientific notes do not begin until thirty-five minutes into the film. The second half introduces the Monster, Elsa, and the village of Vasaria and its inhabitants.
Immediately following his success in Dracula, Bela Lugosi had been the first choice to play the Monster in Universal's original Frankenstein film, but Lugosi famously turned down the nonspeaking, heavily made-up role: as conceived by the original director Robert Florey, the Monster was nothing more than a mindless killing machine and not suitable for Lugosi's rising stardom and career as a leading actor, and the original make-up for Lugosi's screen test was closely based on the doll-like clay robot in The Golem.
Eight years later, Lugosi joined the film as the Monster's twisted companion Ygor in Son of Frankenstein. He returned to the role in the sequel, The Ghost of Frankenstein, in which Ygor's brain is implanted into the Monster (now Chaney), causing the creature to take on Lugosi/Ygor's voice. After plans for Chaney to play both the Monster and the Wolf Man in the next film fell through for logistical reasons (Chaney demurred), the natural next step was for Lugosi, who turned 60 during the film's production, to take on the part that he once was slated to originate.
The original script — and indeed the film as originally filmed — had the Monster performing dialogue throughout the film, including references to the events of Ghost and indicating that the Monster is now blind (a side effect of the brain transplant as revealed at the end of the previous film, and the reason for his iconic stiff-armed "Frankenstein walk"). According to Siodmak, a studio screening audience reacted negatively to this, finding the idea of the Monster speaking with a Hungarian accent unintentionally funny (although the Monster spoke with Lugosi's voice at the end of Ghost, the audiences had been carefully prepared for it by the plot of the film). This has been generally accepted as the reason virtually all scenes in which Lugosi speaks were deleted (though two brief scenes remain in the film that show Lugosi's mouth moving without sound). All references to his being blind were also eliminated, rendering the Monster's groping gestures unmotivated for those unfamiliar with the ending of the previous film. Close-ups of Lugosi's eyes during the revitalization scene and his evil, knowing leer to Patric Knowles were supposed to indicate that his vision had been restored, but in the ultimate context of the film this means nothing. Consequently, Lugosi is onscreen literally for only a few minutes, leaving the Wolf Man as the film's primary focus.
Lugosi suffered exhaustion at some point during the filming, and his absence from the set, combined with his physical limitations at age 60, required the liberal use of stand-ins.
This would be the final Universal horror film in which the Monster played a major role; in the subsequent films The House of Frankenstein and House of Dracula, the Monster, played by Glenn Strange, is brought back to life only in the final scenes (in the 1948 Universal comedy Abbott and Costello Meet Frankenstein (the second and final film in which Lugosi plays Dracula), Strange has a larger role and the creature once again speaks, albeit with very limited dialogue, twice muttering, "Yes, Master."). It was also the last Universal horror film to feature an actual member of the Frankenstein family as a character.
A tribute to this meeting of two horror film legends happens near the beginning of the film Alien vs. Predator, when this film is seen playing on a television at the satellite receiving station. In the US version of the 1962 film King Kong vs. Godzilla (another pairing of prominent monsters), the music from the fight scene at the end of the film also plays during the final fight between Godzilla and Kong.
So the reason why this movie was a huge disappointments that it was universal first ensemble. A meet between two iconic monsters and boy did it disappointment. Their didnt meet until the last 5 minutes, no scratch that the last minute. Yes you read that right, the last minute their meet. Huge disappointment. It was also slow. I dont recordmend watching this one and skip it. The only reason im giving it a 5 is because of Lon Chaney Jr. and Bela Lugosi.
The plot: Lawrence Stewart Talbot (Lon Chaney Jr.) is plagued by a physical oddity that turns him into a crazed werewolf after sundown. His desire to rid himself of this ailment leads him to the castle owned by mad scientist Dr. Frankenstein. Frankenstein, it turns out, is now dead, yet Talbot believes that the scientist's daughter, Baroness Elsa Frankenstein (Ilona Massey), can help him. However, his quest to right himself puts him on a collision course with Frankenstein's monster (Bela Lugosi).
This was the first of a series of "ensemble" monster films combining characters from several film series. This film, therefore, is both the fifth in the series of films based upon Mary Shelley's 1818 book Frankenstein; or, The Modern Prometheus, directly after The Ghost of Frankenstein, and a sequel to The Wolf Man.
As ultimately edited and released, Frankenstein Meets the Wolf Man is told in two almost equal parts. The opening scenes tell the story of Talbot's resurrection, killing spree, hospitalization, and escape across Europe. Much time is spent with a secondary policeman, Inspector Owen, and on scenes with a desperate Talbot hospitalized by Dr. Mannering. The discovery of the Monster and pursuit of Dr. Frankenstein's scientific notes do not begin until thirty-five minutes into the film. The second half introduces the Monster, Elsa, and the village of Vasaria and its inhabitants.
Immediately following his success in Dracula, Bela Lugosi had been the first choice to play the Monster in Universal's original Frankenstein film, but Lugosi famously turned down the nonspeaking, heavily made-up role: as conceived by the original director Robert Florey, the Monster was nothing more than a mindless killing machine and not suitable for Lugosi's rising stardom and career as a leading actor, and the original make-up for Lugosi's screen test was closely based on the doll-like clay robot in The Golem.
Eight years later, Lugosi joined the film as the Monster's twisted companion Ygor in Son of Frankenstein. He returned to the role in the sequel, The Ghost of Frankenstein, in which Ygor's brain is implanted into the Monster (now Chaney), causing the creature to take on Lugosi/Ygor's voice. After plans for Chaney to play both the Monster and the Wolf Man in the next film fell through for logistical reasons (Chaney demurred), the natural next step was for Lugosi, who turned 60 during the film's production, to take on the part that he once was slated to originate.
The original script — and indeed the film as originally filmed — had the Monster performing dialogue throughout the film, including references to the events of Ghost and indicating that the Monster is now blind (a side effect of the brain transplant as revealed at the end of the previous film, and the reason for his iconic stiff-armed "Frankenstein walk"). According to Siodmak, a studio screening audience reacted negatively to this, finding the idea of the Monster speaking with a Hungarian accent unintentionally funny (although the Monster spoke with Lugosi's voice at the end of Ghost, the audiences had been carefully prepared for it by the plot of the film). This has been generally accepted as the reason virtually all scenes in which Lugosi speaks were deleted (though two brief scenes remain in the film that show Lugosi's mouth moving without sound). All references to his being blind were also eliminated, rendering the Monster's groping gestures unmotivated for those unfamiliar with the ending of the previous film. Close-ups of Lugosi's eyes during the revitalization scene and his evil, knowing leer to Patric Knowles were supposed to indicate that his vision had been restored, but in the ultimate context of the film this means nothing. Consequently, Lugosi is onscreen literally for only a few minutes, leaving the Wolf Man as the film's primary focus.
Lugosi suffered exhaustion at some point during the filming, and his absence from the set, combined with his physical limitations at age 60, required the liberal use of stand-ins.
This would be the final Universal horror film in which the Monster played a major role; in the subsequent films The House of Frankenstein and House of Dracula, the Monster, played by Glenn Strange, is brought back to life only in the final scenes (in the 1948 Universal comedy Abbott and Costello Meet Frankenstein (the second and final film in which Lugosi plays Dracula), Strange has a larger role and the creature once again speaks, albeit with very limited dialogue, twice muttering, "Yes, Master."). It was also the last Universal horror film to feature an actual member of the Frankenstein family as a character.
A tribute to this meeting of two horror film legends happens near the beginning of the film Alien vs. Predator, when this film is seen playing on a television at the satellite receiving station. In the US version of the 1962 film King Kong vs. Godzilla (another pairing of prominent monsters), the music from the fight scene at the end of the film also plays during the final fight between Godzilla and Kong.
So the reason why this movie was a huge disappointments that it was universal first ensemble. A meet between two iconic monsters and boy did it disappointment. Their didnt meet until the last 5 minutes, no scratch that the last minute. Yes you read that right, the last minute their meet. Huge disappointment. It was also slow. I dont recordmend watching this one and skip it. The only reason im giving it a 5 is because of Lon Chaney Jr. and Bela Lugosi.
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Bob Mann (459 KP) rated Beauty and the Beast (2017) in Movies
Sep 29, 2021
Tail as old as Kline.
With the Disney marketing machine in full swing, its hard to separate the hype from the movie reality in this latest live-action remake of one of their classic animated features from 1991. If you are lucky enough to have children you will know that each child tends to have “their” Disney feature: for my second daughter (then 4) that film would be “Beauty and the Beast”. With a VHS video tape worn down to the substrate, this is a film I know every line of dialogue to (“I’m especially good at expectorating”). So seeing this movie was always going to be a wander down Nostalgia Avenue and a left turn into Emotion Crescent, regardless of how good a film it was. And so it proved.
Taking no chances with a beloved formula, most of the film is an almost exact frame-for-frame recreation of the original, with the odd diversion which, in the main, is to slot in new songs by original composer Alan Menken with Tim Rice lyrics. For, unlike “La La Land” this is a proper musical lover’s musical with songs dropping in regularly throughout the running time.
Which brings us to Emma Watson’s Belle. I’ve seen review comments that she ‘dials it in’ with a humourless and souless portrayal of the iconic bookworm. I can’t fathom what film those people were watching! I found Watson to be utterly mesmerising, confident and delightful with a fine (though possibly auto-tuned) singing voice. Her ‘Sound of Music’ moment (you’ll know the one) brought tears to my eyes. There are moments when her acting is highly reminiscent of Hermione Grainger, but this is about as crass a criticism as saying that Harrison Ford has done his “Knock it Off” snarl again.
I even felt that the somewhat dodgy bestiality/Stockholm-syndrome thing, inherent in the plot, was deftly handled by her. Curiously (and I feel guilty for even thinking this) the only part I felt slightly icky about was the age difference evident in the final kiss between Watson (now 27) and the transformed beast (sorry if this is a TERRIBLE spoiler for you!) played by Dan Stevens (“Downton Abbey”): even though with Stevens being only 35 this is only 8 years! I think the problem here is that it is still difficult for me to decouple the modern feminist woman that is Watson from the picture of the young Hermione as a schoolgirl in her first term at Hogwarts. (I know this is terrible typecasting, and definitely my bad, but that’s the way it is).
Stevens himself is fine as the cursed prince, albeit that most of his scenes are behind the CGI-created wet-rug that is the beast. Similarly, most of the supporting stars (Ewan McGregor as Lumière, Ian McKellen as Cogsworth, Emma Thompson as Mrs Potts and an almost unrecognisable Stanley Tucci as the maestro Cadenza) are similarly confined to voice parts for the majority of the film. Kevin Kline is great as the supremely huggable Maurice. But the performances that really shine though are those of Luke Evans (“The Girl on the Train“) as the odiously boorish Gaston and Josh Gad (Olaf in “Frozen”) as his hilariously adoring sidekick LeFou. Much has been made of the gay Disney angle to this element of the story, most of which is arrant homophobic nonsense since the scenes are pretty innocuous. In fact the most adventurous ‘non-heterosexual’ aspect of the film, and a scene that raises by far the biggest laugh, relates to a completely different character.
Most of the songs delivered in the film are OK without, in my view, surpassing the versions in the original. Only Dan Steven’s dramatic new song “Evermore”- as one of the few really new ‘full-length’ songs in the film – has ‘Oscar nomination’ written all over it. However, the film eschews the ‘live-filming’ approach to song production featured in recent musicals like “La La Land” and “Les Miserables”, with some degree of lip-sync evident. Whilst I understand that ‘imperfection’ is not a “Disney thing”, I found that lack of risk-taking a bit of a disappointment.
The makers of the original “Beauty and the Beast” would I’m sure have been bowled over by the quality of the special effects on show here. However, that was in 1991 and it is now 2017, when “The Jungle Book” has set the bar for CGI effects. By today’s standards, the special effects here are mediocre at best. I wondered at first if some of the dodgy green-screen work was delivered that way to make it seem more “cartoony”, but I doubt that – – why bother? More irritatingly, the animated chattels in the castle, especially the candlestick Lumière, are seriously unconvincing. Mrs Potts, the teapot, and her son Chip, the cup, are rendered as flat and two-dimensional. There should have been no shortage of money to thrown at the effects with a reported budget of $160 million. Where has the Disney magic gone?
The film also seems to be rendered primarily for a 3D showing (I saw it in 2D). I say this because some of the panning shots (notably one around the library) to me just ended up as an unimpressive blur of mediocrity. Most odd.
The director is Bill Condon responsible for the modestly well-respected but low-key “Dreamgirls” and “Mr Holmes” but also the much derided “Breaking Dawn” end to the “Twilight” series. As such this seems to have been quite a risk that Disney took with such a high profile property, and I would have been intrigued to see what a more innovative director like Chazelle or Iñárritu would have done with it.
However, despite my reservations it is bound to be a MONSTER hit in every sense of the word, and kids aged 5 to 10 will, I predict, absolutely adore it (be warned that kids under 5 may be seriously scared by some of the darker scenes, especially the two wolf-attacks). For a younger age group, I would rate it as an easy FFFFF. As an adult viewer, given that I have viewed it through the rosy tint of my nostalgia-glasses (unfortunately you cannot hire these at the cinema if you haven’t brought your own!), this was an enjoyable watch. Despite my (more than expected!) slew of criticisms above my rating is still….
Taking no chances with a beloved formula, most of the film is an almost exact frame-for-frame recreation of the original, with the odd diversion which, in the main, is to slot in new songs by original composer Alan Menken with Tim Rice lyrics. For, unlike “La La Land” this is a proper musical lover’s musical with songs dropping in regularly throughout the running time.
Which brings us to Emma Watson’s Belle. I’ve seen review comments that she ‘dials it in’ with a humourless and souless portrayal of the iconic bookworm. I can’t fathom what film those people were watching! I found Watson to be utterly mesmerising, confident and delightful with a fine (though possibly auto-tuned) singing voice. Her ‘Sound of Music’ moment (you’ll know the one) brought tears to my eyes. There are moments when her acting is highly reminiscent of Hermione Grainger, but this is about as crass a criticism as saying that Harrison Ford has done his “Knock it Off” snarl again.
I even felt that the somewhat dodgy bestiality/Stockholm-syndrome thing, inherent in the plot, was deftly handled by her. Curiously (and I feel guilty for even thinking this) the only part I felt slightly icky about was the age difference evident in the final kiss between Watson (now 27) and the transformed beast (sorry if this is a TERRIBLE spoiler for you!) played by Dan Stevens (“Downton Abbey”): even though with Stevens being only 35 this is only 8 years! I think the problem here is that it is still difficult for me to decouple the modern feminist woman that is Watson from the picture of the young Hermione as a schoolgirl in her first term at Hogwarts. (I know this is terrible typecasting, and definitely my bad, but that’s the way it is).
Stevens himself is fine as the cursed prince, albeit that most of his scenes are behind the CGI-created wet-rug that is the beast. Similarly, most of the supporting stars (Ewan McGregor as Lumière, Ian McKellen as Cogsworth, Emma Thompson as Mrs Potts and an almost unrecognisable Stanley Tucci as the maestro Cadenza) are similarly confined to voice parts for the majority of the film. Kevin Kline is great as the supremely huggable Maurice. But the performances that really shine though are those of Luke Evans (“The Girl on the Train“) as the odiously boorish Gaston and Josh Gad (Olaf in “Frozen”) as his hilariously adoring sidekick LeFou. Much has been made of the gay Disney angle to this element of the story, most of which is arrant homophobic nonsense since the scenes are pretty innocuous. In fact the most adventurous ‘non-heterosexual’ aspect of the film, and a scene that raises by far the biggest laugh, relates to a completely different character.
Most of the songs delivered in the film are OK without, in my view, surpassing the versions in the original. Only Dan Steven’s dramatic new song “Evermore”- as one of the few really new ‘full-length’ songs in the film – has ‘Oscar nomination’ written all over it. However, the film eschews the ‘live-filming’ approach to song production featured in recent musicals like “La La Land” and “Les Miserables”, with some degree of lip-sync evident. Whilst I understand that ‘imperfection’ is not a “Disney thing”, I found that lack of risk-taking a bit of a disappointment.
The makers of the original “Beauty and the Beast” would I’m sure have been bowled over by the quality of the special effects on show here. However, that was in 1991 and it is now 2017, when “The Jungle Book” has set the bar for CGI effects. By today’s standards, the special effects here are mediocre at best. I wondered at first if some of the dodgy green-screen work was delivered that way to make it seem more “cartoony”, but I doubt that – – why bother? More irritatingly, the animated chattels in the castle, especially the candlestick Lumière, are seriously unconvincing. Mrs Potts, the teapot, and her son Chip, the cup, are rendered as flat and two-dimensional. There should have been no shortage of money to thrown at the effects with a reported budget of $160 million. Where has the Disney magic gone?
The film also seems to be rendered primarily for a 3D showing (I saw it in 2D). I say this because some of the panning shots (notably one around the library) to me just ended up as an unimpressive blur of mediocrity. Most odd.
The director is Bill Condon responsible for the modestly well-respected but low-key “Dreamgirls” and “Mr Holmes” but also the much derided “Breaking Dawn” end to the “Twilight” series. As such this seems to have been quite a risk that Disney took with such a high profile property, and I would have been intrigued to see what a more innovative director like Chazelle or Iñárritu would have done with it.
However, despite my reservations it is bound to be a MONSTER hit in every sense of the word, and kids aged 5 to 10 will, I predict, absolutely adore it (be warned that kids under 5 may be seriously scared by some of the darker scenes, especially the two wolf-attacks). For a younger age group, I would rate it as an easy FFFFF. As an adult viewer, given that I have viewed it through the rosy tint of my nostalgia-glasses (unfortunately you cannot hire these at the cinema if you haven’t brought your own!), this was an enjoyable watch. Despite my (more than expected!) slew of criticisms above my rating is still….
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Bob Mann (459 KP) rated 7500 (2019) in Movies
Jun 28, 2020
A 'small film' that packs a big punch
I'm not sure if there is an "IQ" table of Hollywood stars, but I would reckon if there is then Joseph Gordon-Levitt would rate pretty highly. Whenever I see him interviewed he comes across as a highly articulate and intelligent bloke. And that intelligence filters through into his choices of movie role. If you look back at his filmography on IMDB the first thing you notice is that his output is pretty sparse and selective, and the next is that the projects he's done mostly deliver a pretty strong hit rate: "500 Days of Summer"; "Inception", "Looper", "The Dark Knight Rises"; "Don Jon".... the list is impressive.
Here he stars (and really stars) in a small German film. It only had a $5 million budget and in some ways it shows: the speaking cast totals about a dozen; the single location used is the cockpit (an Airbus A320 simulator somewhere? Or a set? The production design is so good, it's difficult to tell) ; and the "score" is so minimalistic (a solo piano piece over the end titles) that it doesn't even merit an IMDB music credit!
But in many ways this is a case of 'small is beautiful'. For this is an extremely tense and claustrophobic action picture.
The Plot: German Captain Michael Lutzmann (Carlo Kitzlinger) and American Co-pilot Tobias Ellis (Joseph Gordon-Levitt) are about to pilot an Airbus A320 on a routine flight from Berlin to Paris. By coincidence, also on the flight is Tobias's partner and mother of his son, stewardess Gökce (Aylin Tezel). Shortly into the flight, three terrorists - Kenan (Murathan Muslu), Daniel (Paul Wollin) and youngster Vedat (Omid Memar) - take over the aircraft. Tobias issues a "7500" (hijack in progress) code. All that is protecting the injured pilots and the security of the 80 people on the flight is the cockpit door.
The film starts slowly, building atmosphere through the pre-flight chit-chat between the pilots and a leisurely take-off. I loved this development of character by Oscar-nominated shorts director Patrick Vollrath. But when the action starts, it starts with a bang and continues in truly tense and visceral style. There's a sense of creeping dread when you realise the terrorist's use of hostages to get the door open, and of who the hostages might be.
I note that one of the "thanks" for the film was director Paul Greengrass, who of course made the outstanding 9/11-themed "United 93" back in 2006. It would be fascinating to understand whether this was a "thank-you" for the inspiration the classic film gave Vollrath, or if there was some practical consultancy undertaken there.
Star of the show here is Joseph Gordon-Levitt who delivers a peerless performance as the pilot under extreme stress. Veering cyclically through terror, emotional breakdown and calm 'training-kicking-in' modes, it's a performance that is almost Oscar nomination-worthy in my book. He's on screen for virtually every shot of the film, and really earned his fee here. He makes for a very believable pilot.
I've read other comment that says the terrorists are rather 2-dimensional in their attempts to "do a 9/11". And to a degree I agree. A nice angle though is the relationship that develops between Tobias and young Vedat in the second half of the movie. There's a 'Stockholm Syndrome' vibe going on here, but this never quite gets resolved satisfactorily.
As such, unfortunately this 'back 9' never really quite lived up to the promise of the first 45 minutes for me. And as a single-location story that had nowhere else to go, the abrupt ending will not be to the liking of some I'm sure.
Not to be confused with the 2014 horror "Flight 7500", this is for once a B-movie that's real nail-biter. The movie doesn't pull its punches, and although there is little of the more graphic violence actually shown, the mind can fill in the gaps effectively which makes for some upsetting moments. Although it never quite lives up to its early promise at only 93 minutes it is strongly deserving of your attention. The movie is available for viewing via Amazon-Prime.
(For the full graphical review please check out One Mann's Movies here - https://bob-the-movie-man.com/2020/06/28/one-manns-movies-film-review-the-7500-2020/ .)
Here he stars (and really stars) in a small German film. It only had a $5 million budget and in some ways it shows: the speaking cast totals about a dozen; the single location used is the cockpit (an Airbus A320 simulator somewhere? Or a set? The production design is so good, it's difficult to tell) ; and the "score" is so minimalistic (a solo piano piece over the end titles) that it doesn't even merit an IMDB music credit!
But in many ways this is a case of 'small is beautiful'. For this is an extremely tense and claustrophobic action picture.
The Plot: German Captain Michael Lutzmann (Carlo Kitzlinger) and American Co-pilot Tobias Ellis (Joseph Gordon-Levitt) are about to pilot an Airbus A320 on a routine flight from Berlin to Paris. By coincidence, also on the flight is Tobias's partner and mother of his son, stewardess Gökce (Aylin Tezel). Shortly into the flight, three terrorists - Kenan (Murathan Muslu), Daniel (Paul Wollin) and youngster Vedat (Omid Memar) - take over the aircraft. Tobias issues a "7500" (hijack in progress) code. All that is protecting the injured pilots and the security of the 80 people on the flight is the cockpit door.
The film starts slowly, building atmosphere through the pre-flight chit-chat between the pilots and a leisurely take-off. I loved this development of character by Oscar-nominated shorts director Patrick Vollrath. But when the action starts, it starts with a bang and continues in truly tense and visceral style. There's a sense of creeping dread when you realise the terrorist's use of hostages to get the door open, and of who the hostages might be.
I note that one of the "thanks" for the film was director Paul Greengrass, who of course made the outstanding 9/11-themed "United 93" back in 2006. It would be fascinating to understand whether this was a "thank-you" for the inspiration the classic film gave Vollrath, or if there was some practical consultancy undertaken there.
Star of the show here is Joseph Gordon-Levitt who delivers a peerless performance as the pilot under extreme stress. Veering cyclically through terror, emotional breakdown and calm 'training-kicking-in' modes, it's a performance that is almost Oscar nomination-worthy in my book. He's on screen for virtually every shot of the film, and really earned his fee here. He makes for a very believable pilot.
I've read other comment that says the terrorists are rather 2-dimensional in their attempts to "do a 9/11". And to a degree I agree. A nice angle though is the relationship that develops between Tobias and young Vedat in the second half of the movie. There's a 'Stockholm Syndrome' vibe going on here, but this never quite gets resolved satisfactorily.
As such, unfortunately this 'back 9' never really quite lived up to the promise of the first 45 minutes for me. And as a single-location story that had nowhere else to go, the abrupt ending will not be to the liking of some I'm sure.
Not to be confused with the 2014 horror "Flight 7500", this is for once a B-movie that's real nail-biter. The movie doesn't pull its punches, and although there is little of the more graphic violence actually shown, the mind can fill in the gaps effectively which makes for some upsetting moments. Although it never quite lives up to its early promise at only 93 minutes it is strongly deserving of your attention. The movie is available for viewing via Amazon-Prime.
(For the full graphical review please check out One Mann's Movies here - https://bob-the-movie-man.com/2020/06/28/one-manns-movies-film-review-the-7500-2020/ .)
