IMDb-BEWERTUNG
5,3/10
1143
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuIn New York, under the mistaken impression that she is talking to her normally staid boyfriend, a woman journalist agrees to meet an obscene caller at a bar, but then ends up witnessing a br... Alles lesenIn New York, under the mistaken impression that she is talking to her normally staid boyfriend, a woman journalist agrees to meet an obscene caller at a bar, but then ends up witnessing a brutal bloody murder. With the perpetrator being an NYPD cop.In New York, under the mistaken impression that she is talking to her normally staid boyfriend, a woman journalist agrees to meet an obscene caller at a bar, but then ends up witnessing a brutal bloody murder. With the perpetrator being an NYPD cop.
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- 1 Gewinn & 1 Nominierung insgesamt
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Reasonably entertaining thriller, which maintains an intriguingly ambiguous atmosphere for at least its first hour, when you don't know who might turn out to be a villain and how the two parallel plotlines are going to merge. The director also makes good use of the N.Y locations, but the story is filled with too many coincidences and improbabilities. An early showcase for the talent of Steve Buscemi. (**1/2)
4=G=
"Call Me" is all about Anna (Charbonneau) who is smart enough to be a NYC newspaper columnist but not smart enough to hang up on an obscene phone caller. A lame B-flick which smacks of indieness and amateurish autuersmanship features a mediocre performance by Charbonneau, Strathrain for a heartbeat, Buscemi in a bit part, poor production value, and a hokey script/screenplay. Just more flotsam bobbing on broadcast. (C-)
One day the measured everyday life of a girl working as a journalist in one of the publishing houses is interrupted by a strange call. For some obscure reason, she, without any ulterior motive, takes the stranger for her friend, with whom she has a rather contradictory relationship. Starting from this, at first glance, insignificant detail, the further cycle of events begins. At the insistence of the caller she arrives at a nearby bar and becomes a witness to a spontaneous murder. Then there is a generally typical set for any simple thriller - a corrupt policeman, dark streets of an average city somewhere in the USA, a friend who will always give a couple of useful (and not so useful) pieces of advice, indifferent colleagues, as well as a couple of moderately colorful criminal elements. In essence could have finished here, but some components of this picture taken separately allow it to stand out a little against the background of numerous, often completely faceless, brothers in the genre, which especially gained popularity in the second half of the eighties and the following nineties of the twentieth century.
Probably everyone knows the combination of good cop - bad cop. Here is a more unusual layout using the example of the «other side of the barricades». The first figure is the melancholic, taciturn and thoughtful Stephen McHattie, who dyed his hair a slightly acid-blond color. The second is an unbalanced psychopath in a leather jacket, occasionally (and without) waving a switchblade and wearing slicked-back hair, aka Steve Buscemi in one of his early roles, several years before Tarantino's creation, which made him famous to a certain extent. This explosive combination of incompatible opposites needs to find the wayward person at all costs, not without difficulty maneuvering in the discrepancies between plans and approaches to solving this, as it turns out later, not the easiest task.
In addition, as the action progresses, the three main characters mentioned will continue to be accompanied by a mysterious lover of frank conversations, the final alignment with whom will be revealed from an unusual side only closer to the end, as well as, acting as a kind of separate actor, the brick gateways of New York.
As a result it can be noted that watching the twists and turns of all the mentioned elements turns out to be quite interesting, therefore a positive review and a rating relevant to the genre specifics of category "B" thrillers.
Probably everyone knows the combination of good cop - bad cop. Here is a more unusual layout using the example of the «other side of the barricades». The first figure is the melancholic, taciturn and thoughtful Stephen McHattie, who dyed his hair a slightly acid-blond color. The second is an unbalanced psychopath in a leather jacket, occasionally (and without) waving a switchblade and wearing slicked-back hair, aka Steve Buscemi in one of his early roles, several years before Tarantino's creation, which made him famous to a certain extent. This explosive combination of incompatible opposites needs to find the wayward person at all costs, not without difficulty maneuvering in the discrepancies between plans and approaches to solving this, as it turns out later, not the easiest task.
In addition, as the action progresses, the three main characters mentioned will continue to be accompanied by a mysterious lover of frank conversations, the final alignment with whom will be revealed from an unusual side only closer to the end, as well as, acting as a kind of separate actor, the brick gateways of New York.
As a result it can be noted that watching the twists and turns of all the mentioned elements turns out to be quite interesting, therefore a positive review and a rating relevant to the genre specifics of category "B" thrillers.
Awkward dialogue and uneven acting at times. Film appears to be based on "Lady Beware," which fares better in every way. This film's only saving grace is seeing a pre-Disneyfied NYC. Great views of Downtown Manhattan. Can only recommend as a guilty pleasure/late-night cable viewing.
Call Me (1988), directed by Sollace Mitchell, is a violent and erotic thriller that attempts to capture the gritty, sordid atmosphere of late 1980s New York. The story follows Anna, a young journalist who receives an obscene phone call she believes is from her boyfriend. When she agrees to meet him at a bar, she inadvertently becomes a witness to a murder. From there, Anna's life spirals into a dangerous web of mystery, suspense, and encounters with dark, menacing characters, including a killer.
Mitchell's direction makes effective use of urban locations to heighten the sense of danger and claustrophobia, while Zoltan David's cinematography employs stark contrasts of light and shadow to emphasize the film's thriller tone. The portrayal of New York as a cold, grimy, and chaotic environment feels authentic and adds to the film's atmosphere. However, the narrative itself is plagued by logical inconsistencies and an exasperatingly slow progression of events. Anna's decisions, in particular, border on the absurd, which can test the audience's patience.
Steve Buscemi stands out in one of his early roles as a criminal, bringing his trademark intensity and eccentricity to the character. Yet, even his performance struggles to elevate a story that relies too heavily on genre clichés and lacks cohesion.
In conclusion, Call Me delivers a well-crafted aesthetic and some moments of genuine tension, but its weak plot and illogical character behavior undermine its potential. While visually compelling, the film ultimately falls short of being a truly engaging thriller.
Mitchell's direction makes effective use of urban locations to heighten the sense of danger and claustrophobia, while Zoltan David's cinematography employs stark contrasts of light and shadow to emphasize the film's thriller tone. The portrayal of New York as a cold, grimy, and chaotic environment feels authentic and adds to the film's atmosphere. However, the narrative itself is plagued by logical inconsistencies and an exasperatingly slow progression of events. Anna's decisions, in particular, border on the absurd, which can test the audience's patience.
Steve Buscemi stands out in one of his early roles as a criminal, bringing his trademark intensity and eccentricity to the character. Yet, even his performance struggles to elevate a story that relies too heavily on genre clichés and lacks cohesion.
In conclusion, Call Me delivers a well-crafted aesthetic and some moments of genuine tension, but its weak plot and illogical character behavior undermine its potential. While visually compelling, the film ultimately falls short of being a truly engaging thriller.
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- Crazy CreditsAs if reflecting on all the blood spilled in the story-line, when the title again appears in pristine white at the end, the letters change into blood-red.
- Alternative VersionenUK cinema and video versions were cut by 3 minutes 56 secs by the BBFC to heavily edit much of the profanity and sexual dialogue during the phone calls.
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Details
Box Office
- Bruttoertrag in den USA und Kanada
- 251.819 $
- Weltweiter Bruttoertrag
- 251.819 $
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