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.
Anna has spent her whole life locked in a cabin in the woods with her daddy, the last survivors of an apocalypse where the monstrous “wildlings” devoured all of mankind. Now blossoming into teenagehood, she finds herself seeing things in a way she hadn’t considered before. And anyway, when her daddy is played by the mercurial Brad Dourif, you know things aren’t as straightforward as she has been led to believe.
Wildling is a fantasy-horror which does not fit the mould. An unusual film, it not so much twists and turns, as it is surprises us as it wends its way. This film will not appeal to everyone. Why? Its very genre changes as the film goes on; we see the ground shift beneath us and suddenly things are different again. Therefore, being a bit of a genre-bending pic, it won’t be pure horror enough to satisfy some horror fans, nor fantastical enough for many of the fantasy crowd, and it just has too much everyday drama for the first two groups. None-the-less, this is an entertaining, original film which sucks you into its world.
There are great performances from the aforesaid Dourif and his fellow players. Especially good is Collin Kelly-Sordelet who gives a sensitive and believable performance as Ray, Ellen’s younger brother, a quirky outsider himself who is able to connect with Anna. These strong performances are the iron track that this quirky tale runs assuredly on.
Wildling was Fritz Böhm’s first feature length screenplay. He did so well that he’s obviously become a trusted quantity as he will be directing the upcoming Escape Room 2 (2021).
A wonderful tale that, while not everyone’s cup of tea, should be sampled by all.
An isolated area of countryside is cut off from the world by an eerie shimmering light which surrounds it; no one who enters “the shimmer” is heard from again. Communication in and out of the shimmer is impossible. And with the shimmer slowly growing in size daily, engulfing the surrounding area, the government is called in to carry out a classified investigation under the guise of a chemical clean-up operation.
An all-female team, led by a biology professor (Natalie Portman) and a psychologist (Jennifer Jason) Leigh, each with their own agendas and ulterior motives, are the latest to enter. The world they find within the shimmer is an Alice-in-Wonderland, LSD trip gone wrong. A nightmarish hallucination, which is both utterly unlike anything you’ve seen before, and completely convincing.
The film is a genre-defying science fiction-horror-thriller-psychological thriller-creature feature which shares genetic strands with Sphere (1998), Event Horizon (1997), Contact (1997), and Cloverfield (2008). But this is all par for the course for writer-director, Alex Garland, whose previous accomplishments include Ex Machina and 28 Days Later.
This film is tense and, yes, genuinely scary. A horrifying slow-burn with some first rate acting.