Review of The Call (2013) by Cameron J — 01 Aug 2013

Well, "Fringe" is finally over, so I reckon it's time for Jasika Nicole to find some new work, though it might be a bit too soon for a lead role. Oh no, wait, this isn't Jasika Nicole, it's just Halle Berry with Nicole's trademark hairdo, you know, because the bob cut didn't make her look like a lesbian enough. Seriously though, if nothing else kept me on the edge of my seat throughout this film, it was the anticipation for a scene in which Halle Berry walks into a lab and John Noble pops up from out of nowhere talking about some paranormal science junk and making me say, "Man, I really wish that I didn't fall out of 'Fringe'", and it didn't help that the profession of Berry's Jordan Turner character in this film is about as forgettable as the lab assistant profession that Nicole's Astrid Farnsworth character had on "Fringe". Now, I'm not saying that the film industry is running out of ideas for unique police procedural thrillers, but this is a thriller about a 911 phone operator, which, of course, screams, "Incredibly interesting", probably while into the phone while it's being kidnapped. No, I'm sure that there's plenty of exciting material to the job of a 911 operator, partially because Berry has such a good track record with selecting thoroughly gripping thrillers like "Swordfish", "Gothika", "Perfect Stranger", "Dark Tide" and, of course, the most terrifying one of them all, "Movie 43". Ouch, it's still too soon to make jokes about that disaster, which isn't to say that that's the only reason why I should cut the sarcasm, because no one is going to get the joke, seeing as how the thrillers that I just listed off have either been forgotten by now or weren't seen by anyone. You can, of course, imagine my concern regarding this film, seeing as how director Brad Anderson knows a thing or to about making thrillers that no one sees, except his thrillers tend to actually deserve to be seen, much like this thriller, because with all of my joking, this flick is a pleasant surprise, though doesn't exactly come without its share of issues.

Needless to say, there are plenty of refreshing areas in this film's plot, and if there isn't, on the whole, storytelling is too inspired for you to mind the conventionalism all that much, but there's no ever truly ignoring the tropes hit by this film, which goes so far as to flaunt a trite score by John Debney that is generally decent on a musical level, and often played with in a fashion that brings its effectiveness more to the forefront than its genericism, but is just as often reflective of a kind of glaring laziness to this film's writing in terms of uniqueness, though not as much as some clichés, many of which can be found within key areas in plotting that cannot afford to get too familiar. In certain areas, the film is kind of predictable, and that's a little bit frustrating, because this film is so sharp in so many areas of its storytelling that you would think that writer Richard D'Ovidio would be more careful with his plot structuring, especially considering that there are points in plot structuring in which D'Ovidio gets to be a bit too careful with his attention to detail. By this, I mean that D'Ovidio gets carried away with his trying to run out the clock on this minimalist thriller, for although the exhaustive attention to detail when it comes to unraveling this intricate plot is generally organic and helps greatly in reinforcing compellingness, after a while, things get to be more repetitious than they should be, leaving the drama to drag out past the point where it can secure your full investment through the challenges to your patience. Like I said, it's not too difficult to see where this plot is going, but as irony would have it, after a while, plotting goes on for too long for you to see the end, no matter how brisk the pacing is, though I can't say that I'm completely upset with D'Ovidio for overdoing the padding, because subject matter this minimalist is going to need plenty of padding if it hopes to achieve a, for it, hefty runtime of 94 minutes. I have just named off only so many issues with the film, and in a moment I will be praising key strengths to no end, so for all extents and purposes, the final product is outstanding, but something goes seriously wrong, and it can be found as far back as, not just the script writing stage, but the story building stage of the film, because the biggest shortcomings to this effort are natural ones, spawned from a certain subject matter simplicity that opens only so many doors for high compellingness, most of which are filled, but only as much as they can be before the wake to emotional strength is retarded by questionable storytelling areas that can never be fully washed away. In plenty of places, the film is incredibly well-done, so much so that it, with its inspired acting and direction, could have relatively easily been, not simply rewarding, but strong, perhaps even excellent, but in the end, the thriller's subject matter is just too minimalist for storytelling this powerful, and if that doesn't water down your appreciation in what is done so very well enough, the aforementioned consequential shortcomings firmly remind you of the natural shortcomings and secure the final product as short of what it wants to be and could have been. Nevertheless, what the final product ultimately is is worthwhile, maybe not to where the film is as strong as its strongest moments, but certainly to where I found myself engaged time and again, even when looking at the basic story concept.

Again, the biggest issue with the film is its story, which is not simply a bit predictable or padded out, but paper-thin in scope, so no matter how good storytelling is, the effectiveness of this story can only go so far, which isn't to say that you should make the serious mistake of thinking that this subject matter is cleansed of relatively high compellingness, even on paper, as there is still enough weight to this story concept for thorough engagement value to be a possibility, and one that is brought more to the light by what is done right in Richard D'Ovidio's script, which is bloated with both conventions and excess material, sure, but intelligent, with remarkably consistent plausibility, as well as many a moment in which an extensive attention to detail goes a long way in pumping up intrigue and, of course, fleshing out the characters. Giving only so much background information on our characters before diving right into fast-pace thrills, this character drama could have easily slipped up as undercooked, but the care that D'Ovidio puts into characterization bonds you with the human forces who drive this drama and are truly brought to life by something I was not expecting to be as strong - nay - outstanding at it is: the acting, or at least that of our leads, with Michael Eklund being fearlessly transformative as the film's disturbed kidnapper antagonist, who Eklund portrays with a piercing subtlety, broken up by terrifying intensity, while a young and, well, admittedly really prettying up Abigail Breslin proves to be revelatory, capturing the overwhelming fear and uncertainty of the kidnapped Casey Welson character with an exhaustingly crushing emotional power that may not be layered enough for Breslin to be all that great, but breaks your heart. These two supporting talents are truly outstanding, but really, if good acting is what you're looking for, then the reason to see this film is Halle Berry, who we've come to forget is exceptionally talented when she wants to be, and who makes good and sure that you remember with her commitment to the role of Jordan Turner that sells you on the sharpness of our lead as a veteran in her field, while a penetrating dramatic range and deeply human atmosphere truly bring out the depths in Turner, a traumatized woman who returns to a place she had abandoned out of guilt in hopes of doing what she wasn't able to do once before: save an innocent life. Outside of our heroine, this dramatic thriller is built around the kidnapped and the kidnapper, whose portrayers are also remarkable, yet if you were somehow able to disregard Eklund and Breslin, you'll find that Berry carries the film with a great performance, something that is all too rarely seen in the first quarter of the year, so if this film has nothing else going for it, it's really, really good acting. However, what can make or break a film built around dramatic subject matter this minimalist is, of course, storytelling, and let me tell you, while it's all but impossible to obscure the film's shortcomings, director Brad Anderson delivers about as much as he can, on style alone, capturing the thriller's freneticism with snappy plays with Avi Youabian's sharp editing and highlights in John Debney's generally generic score, which is not the only audio aspect to the film that Anderson celebrates cleverly, playing up thumping sound editing in order to immerse you into the environment, as surely as he plays up airtight framing in order to capture the intimacy and, in some cases, claustrophobia of the thriller. Stylistically, the Anderson excels as director, and that does a lot to drive both entertainment value and intensity, but what truly brings this film to life is a thoughtfulness to Anderson's storytelling that is not seen as often as it should be in thrillers of this type, and breathes enough life into the film's dramatic heart to compel you on a human level, and sometimes resonates. Anderson's direction is too held back by the minimalism to the film's subject matter to be all that great, but it's still pretty outstanding, and while Anderson can only give you glimpses of an excellent film, he never lets the final product decent into underwhelmingness, joining decent writing and outstanding acting in compelling you about as much as you can be.

When the line is finally cut, some predictability, - spawned through conventions - some dragging and, worst of all, way too much simplicity to the story concept leave the final product to fall short of what it could have been, but through intelligent and well-rounded writing by Richard D'Ovidio, outstanding performances by Michael Eklund, Abigail Breslin and Halle Berry, and stylishly intense and thoughtfully heartfelt direction by Brad Anderson, "The Call" is left standing as, not too strong, but pretty rewarding, with certain aspects that go well beyond expectations.

3/5 - Good.