La última llamada

Como solía capturar nuestra atención Colin Farrell atrapado durante toda la película en una cabina telefónica, de la misma manera, Halle Berry logra generar tensión en el espectador durante la mayor parte de la película en un centro de emergencias y Abigail Breslin en la cajuela de un auto. Es suficiente para un thriller de calidad y entretenimiento cinematográfico relajante. (25.01.2014)

La película nos introduce en el entorno no trillado del trabajo psicológicamente exigente de los operadores de la línea 911 y apuesta por la emotiva actuación de la ganadora del Oscar Halle Berry, para quien «su caso» se vuelve muy personal. El suspenso arranca bien, es duro e intrigante, el viaje de la víctima en el maletero del coche ofrece nuevos momentos. Pero en el final, que supuestamente iba a ser el remate, se pierde toda la invención, sirviendo clichés tras clichés, con una conclusión aburrida y sin catarsis. El resultado es una película rutinaria que no tiene nada que destacar entre decenas de persecuciones similares tras el asesino y rescates de la víctima secuestrada. El silencio de los corderos y Seven son inigualables, a varios años luz de distancia. (15.05.2013)

After I saw this film, I thought I was going to give it a four-star review. But it was enough for the user emma53 to write a single sentence to me and I realized that even though this thriller is good, the ending ruins the movie. You see, the whole thing is trying to look quite realistic. The 991 hotline, where emergency calls are answered by Halle Berry, was quite tense. But later, where Halle switches from providing help through a headset to actually helping specific people, the movie gets quite schematic, and it wasn’t very realistic. And the ending crowned everything. Anyways, when it comes to good thrillers, this one is still definitely worth watching. (08.11.2014)

A pure, fast-paced genre thriller with a wonderfully straightforward plot that goes too deep (into the killer’s mind) in the climax. Information about the protagonist is limited to what we need to know for the work storyline. The remaining clues leading to identification with the protagonist are provided by Halle Berry’s convincing portrayal of a fragile yet determined woman. The personal storyline is then skilfully integrated into the work storyline (thanks to which the film is also an ode to the work of both emergency call operators and police officers) without being needlessly pushed into the foreground. I wouldn’t see the reason that the film is only slightly above average in the screenplay, which requires the characters to act more or less reasonably, of course with respect to the requirements of the genre, i.e. so that the film can offer us the expected viewing pleasure, the protagonist has to do something stupid at least once. I would blame the director for the film being “only” satisfactory. Though Brad Anderson manages to build a suspenseful scene with its own gradation, he has difficulties with the continuous escalation of tension throughout the film, which as a result functions in the manner of several related episodes of a television series. It has multiple dramatic peaks and seems to start anew several times, which is definitely to the film’s detriment given its modest runtime and high-concept premise. This also involves the impossibility of emotionally connecting with the victim, about whom we know terribly little. In any given slasher movie, she would merely be a warm-up for the killer before the final girl (the question of who the final girl actually is, and how the film uses the slasher formula, is perhaps the most inspiring aspect of The Call). We can sympathise with Jordan and feel the same powerlessness that she feels, but we don’t have to fear for her life through most of the film, because there is no real threat to her. The Call is thus reminiscent of Rear Window, whose protagonist had to rely on what he saw, just as Jordan has to make do with what she hears. Unfortunately, no imaginative work is done with the soundtrack (as in The Interview or Blow Out), but I would be wanting too much from a low-budget genre flick. 70% (06.05.2013)

An extremely undemanding thriller that doesn’t deliver anything we haven’t seen elsewhere. An insane psychopath, an abducted victim, and the heroine who tries to find her. But I still enjoyed The Call. The actors are good in their roles, Brad Anderson knows how to generate tension in some scenes, even though the viewer already knows how everything will turn out. It’s nothing exceptional, but falling in love every now and again with a simple thriller and enjoy it without much complaint… why not. However, the fact that Anderson, who began with the excellent indie horror Session 9, has ended up in such classic Hollywood commercial schlock is objectively a bit sad. (07.06.2013)