Director:
Alexandre AjaGuión:
Christie LeBlancCámara:
Maxime AlexandreMúsica:
RobReparto:
Mélanie Laurent, Malik Zidi, Mathieu Amalric, Laura Boujenah, Marc Saez, Eric Herson-MacarelStreaming (1)
Sinopsis(1)
After waking up in a cryogenic unit, Liz fights to survive and remember who she is before her oxygen runs out. (Netflix)
Reseñas (8)
Un contrato pandémico con un escenario muy predecible. El primer «punto» le llega en los primeros minutos, durante un flashback de un segundo desde el hospital, y el segundo en algún momento una hora después. En su conjunto, la película es un rompecabezas de motivos familiares de ciencia ficción y thriller, en el que también se encuentran improbabilidades lógicas (el desarrollo de los diálogos con la inteligencia artificial). Es decir, si quisieras buscarlos en ella, cosa que no haces, porque es bastante agradable de ver: la dirección de Alexandre Aja es tradicionalmente elegante, Mélanie Laurent, se esfuerza mucho, y el último cuarto es una delicia visual de ciencia ficción.
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Unless I'm forgetting something (and I don't think I am), Oxygen is definitely the best sci-fi film the VOD networks have offered us so far this year, which, with competition like Outside the Wire and Chaos Walking, doesn’t say much, but still... Alex Aja proves once more that he has the a knack for the craft, but again with a screenplay that is a bit off, so it again doesn't reach the red colour on Filmbooster. When you start breaking it down and analyse it, you get, to put it mildly, problematic moments in logic. On the other hand, the film can surprise, some of the twists were unexpected (although in hindsight they might have occurred to me), Mélanie Laurent is excellent and there are few uncomfortable scenes with mice and needles that were a delight. A nice little movie.
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Alexandre Aja serves up an intimate, smart, and thrilling survival drama in a cryochamber for Netflix. It is solid, and survival fans will definitely enjoy it. I would have preferred to see something like Aja's High Tension or some other massacre, but I'm glad for this as well. There is a certain inspiration from the film Buried, so if you liked that one, there's a great chance that Oxygen won't disappoint you. I could complain that it's slower, it could have been more intense and maybe twenty minutes shorter, but on the other hand, I can't really imagine anyone being able to get more out of this premise. Mélanie Laurent performs excellently, the central twist is fantastic and quite unexpected for me, but I also found the other plot surprises to be very well thought out. And surprisingly, Aja managed to include three decent jump scares – one of them even gave me goosebumps! I hate needles and rats, so this part of the film made me uncomfortable. Overall, it's a nice one-off, which I would give 3 or 4 stars, but survival films don't come out at a rate of twenty a year, but rather a maximum of two, so I don't see a reason why I should hold back. 7/10.
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A claustrophobic, catastrophic sci-fi about a bio-form in a cryogenic box. Bewitching visuals, thrilling conversations with the sleazy voice of Mathieu Amalrica and relatively surprising plot twists are among the main attractions of Oxygen. It turns out that Aja doesn’t restrict himself to blood baths, but he also has a talent for storytelling. Want some sedative?
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A less depressing and daunting alternative to Buried, where Mélanie Laurent's voice and gestures are similarly important, as is the velvety talking "robot" voiced by Mathieu Amalric. It's nothing revolutionary, but for a film that takes place in a few square meters, it manages to keep the viewer's attention throughout and the last few minutes will delight the eyes and ears of many a sci-fi fan.
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Despite all the surprising events of the film, something is missing that would make me want to watch it a second time, but it is definitely a good film. It could be ten to fifteen minutes longer, because at the end, in addition to the main protagonist, the story also runs out of breath. Mélanie Laurent is excellent, Alexandre Aja uses the cramped space of the cryochamber in such a way that you do not get bored, and I really enjoyed the unpredictable computer MILO, which can execute almost any command, but only after it is properly told about it. One may guess the point, but it's mainly about the atmosphere, and it's great.
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Un thriller minimalista sobre un entierro en vida típicamente poético, esta vez solo en un entorno de ciencia ficción. No alcanza las cualidades de Enterrado, un thriller de una década antes, que también funcionaba como pieza de conversación. Aquí, el guionista esconde una trama banal detrás de trucos baratos, como la pérdida de memoria y la revelación gradual de cartas. El espectador lo adivinar unos pocos, a veces incluso decenas de minutos antes de que se revelen en la película. En el último cuarto es ligeramente agradable ver el telón de fondo más amplio en el que se desarrolla la acción, pero por lo demás no me dejó sin aliento ni una sola vez.
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Alexandre Aja's Oxygen impressed me with its intimate concept - Mélanie Laurent's one-woman-show - and the screenwriter's play with the viewer, which, however, had its cracks and weak spots. From the beginning, I had various explanations in my head as to why the protagonist found herself in a broken cryo-chamber, and personally I didn't find the plot so predictable. But I was somewhat distracted by the Milo, who functioned almost as a "deus ex machina" in the story, and at times threw the plot developments around recklessly. Also, Oxygen would have benefited from a quarter of an hour shorter running time. The ending was visually captivating and the title music definitely had its charm.
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