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In the categories "disturbingly realistic" and "true nightmares you really don't want to go through yourself", Hallow Road is a film that scores very high. Director Babak Anvari ("I Came By") delivers a very intense and compelling thriller here, even though the story largely takes place in one enclosed location (a car) and has only two main characters (and also a few voices over the phone).

The concept is simple, but that makes it even more efficient. In the middle of the night, parents Maddie and Franck receive a panicky phone call from their teenage daughter Alice. She caused an accident with her father's car. The car is stuck and damaged, but - much worse - there is another girl lying motionless on the road. The parents jump in the car and stay in touch with Alice, but during the long journey the problems pile up. Is the girl who was hit by a car still alive? Where is the ambulance? Why did Alice drive to such a remote place? Was she sober? Will this incident destroy the rest of her life?

There are 2 main reasons why "Hallow Road" is the most haunting and unforgettable thriller you will see this year (and perhaps also in the coming years). First and foremost because it is - simply - a realistic scenario. The chance this horror will happen to yourself, or someone close to you, is much greater than, say, moving into a haunted house or having to fight werewolves and zombies. You read about hit-and-run accidents almost daily, and behind each of these incidents is a tragic story for both sides. Secondly, because Matthew Rhys and - especially - Rosamund Pike give away such incredibly strong performances. Director Anvari felt that the story couldn't just end like a random news fact, and so there are some weird twists in the script towards the end. Still very absorbing, though. The ending is completely open to interpretation, and that too is the best they could have done. Powerful film, recommended!

When parents "Maddie" (Rosamund Pike) and husband "Frank" (Matthew Rhys) get a call from their teenage daughter to say she has been in a road accident, they immediately get into their car and head to the quite far distant and remote scene. The rest of the film sees the couple trying to think what is best to do as the paramedic mother tries to help with an immediate problem whilst the father takes a more long-term and sacrificial view in the event of a worst case scenario. Things only get more fraught when another couple encounter "Alice" first and her folks become increasingly concerned that their "help" might only make matters even worse! With only the intensity of their car as the scenario as this all takes place via the telephone, and what I must admit was probably the slowest and/or safest driving to the site of an accident I've ever witnessed on film (or anywhere else, for that matter) we are introduced to a couple with demons galore and a somewhat confused sense of the ridiculous and of their own priorities. It's that very superficiality and flakiness that makes this a bit more potent than your average thriller and at times it has a characterful intensity akin to a late night radio play with limited visuals and audio: just two people and an increasingly effective and frenzied script. Rhys tends to overact a bit but Pike and the gripping pace of the film deliver something that asks what we might do for our kids, but in a much less typical and frankly more pragmatic fashion. It's only eighty minutes long and that really helps to keep the film focussed and though it isn't a film you are likely to recall for very long, it does work well enough on a big screen.

Hallow Road is a film that completely surprised me. I knew nothing about it going in, and was absorbed from start to finish.

It is a short, sharp, tense, and gripping affair that is contained in largely to three performances, a car, and a phone conversation. I won't go into many more plot details as it is best approached cold, as you go on the journey with the characters. I've seen some people quibble with the third act and the direction the film takes. Whether the final moments are a satisfying conclusion only you can determine. I do think there is a nice amount of ambiguity left in the ending though which leaves it up to you to decide, and for me it worked quite well.

The performances from Matthew Rhys and Rosamund Pike are both brilliant. They capture every emotion possible and really take you on the emotional rollercoaster with them.

Hallow Road is an utter surprise and a simple but thoroughly effective suspense thriller.

STAR RATING: ***** Brilliant **** Very Good *** Okay ** Poor * Awful

Maddie (Rosamund Pike), a paramedic, and her husband, Frank (Matthew Rhys), are a middle class couple, who receive a late night phone call from their teenage daughter, Alice (Megan McDonnell), who has been involved in a hit and run incident. The pair race to the scene, keeping in touch on speaker phone, but as they do, tensions erupt between the couple, before things take a sinister turn.

For those not lulled in by the big new Mission: Impossible film, this little (virtually un) publicised film might be a decent distraction. After checking the running time, it becomes quickly evident that it's another addition from the 'real time' staple (with events playing out exactly as they occur with no cuts) , the last I can remember being Paul Andrew Williams's 2010 effort Cherry Tree Lane.

In a film with pretty much only two cast members, Pike and Rhys play well off each other, and develop an effective chemistry as a couple with conflicting approaches and attitudes towards their daughter, and what may have led to and how to resolve her current predicament. Likewise, McDonnell does well in a voiceover role, descending further into distress and disbelief while her happy, carefree profile picture stares back at us. It's all genuinely compelling and inspired , until an unwelcome supernatural element is added to the story that detracts from the realism of the events. Indeed, it's at this late point that we suddenly learn the film is set at Halloween (which may have been foreshadowed by the Hallow in the title.)

It remains genuinely suspenseful until the end, which comes in not the most comprehensible fashion, with matters feeling unresolved. Could have been highly recommendable, if it had just stayed on track. ***

It's so simple, almost an audio play and yet it's so very good. We've all been here before, we've all had arguments with our parents and some of us who are lucky enough to have children have had arguments with our kids. But this takes it to a whole new level. I was never sold by "inside car films" such as "LOCKE" with Tom Hardy but this film, this to me actually has a reason to be fully set in a car, the tension is agonizing and the end whole probably difficult or perhaps preposterous for some was for me suitable and fascinating.

In a world with awful endless marvel, superhero and sequel movies, this is largely a great breath of fresh air.

It's the middle of the night and a married couple (Rosamund Pyke and Matthew Rhys) are woken by a frantic 'phone call from their teenage daughter Alice. Alice has taken her father's car without permission, she has crashed it on a remote woodland road, hitting a young woman in the process. Mum (a paramedic) and Dad drive the 40 something miles to find her. Most of the movie consists of Alice talking on the 'phone to her parents in their vehicle and their drive is in real time, quite an interesting idea though it will not please everyone, no doubt some viewers will find it boring. The good performances and the urgency of the family's plight do help keep the movie together. This is a film that you could follow with your eyes closed for the bulk of the running time. And it also proves that suggested horror can be far more scary than actually seeing it. Hallow Road is a creepy and unnerving journey. However, it is not all good. For a start I found the ending a bit disappointing, I had hoped for more. Also the film is set in England/The UK, the road markings aren't British, the car's Satnav reads in miles but its speedometer is in KM/H (it was filmed in Ireland and the Czech Republic). And it is obvious that the vehicle isn't always moving when it is meant to be (bear in mind most of the plot takes place in the car). I didn't know what to expect from this suspense thriller, it is quite unique and I was fairly happy with it though I wouldn't watch it again.

Too many films bombard you with so much that you become complacent to what you are watching..not Hallow Rd.

This film may sound very simple, 2 people in a car driving to help their daughter, but it keeps you interested and engaged throughout.

I can't tell you too much as ill ruin it for you but my advice is pay attention as you will be piecing everything you have seen together at the end.

Excellent acting from Rosamund Pike and Matthew Rhys and tight direction from Babak Anvari. He was behind I Came By which i also enjoyed on Netflix. If youve seen that then you will know to expect the unexpected Go see and enjoy the debate afterwards!

I feel a bit gaslit by this one as critics and audience reviews are pretty good but I just didn't connect with it.

Hallow Road takes place in near real time mostly inside of a car as two parents race to the scene of an accident (on "Hallow Road") their daughter has been involved in. I say "near" real time because the drive is only 40 minutes and yet surely takes up longer in the movie as it's ~80%+ of the runtime.

The problem for me is that this felt like a cheap episode of a TV drama that would be shown on ITV. The parents were annoying, particularly the father and the car setting began to get tedious, especially every time the sat-nav told the audience how far we had to go. For some this will rachet up tension and desperation to get there quicker, but for me the journey felt like a slow crawl.

For me the ending left much to be desired. An earlier throwaway line about how the parents "will never find resolution" felt like expectations management from the director - when I heard this I prepared for the worst and was still disappointed. Another cop out ending in a critically acclaimed indie movie? Surely not?!

The second twist is revealed when the lights come up, but this one itself was largely guessable if you were paying attention - but even if you weren't, spelling it out in this fashion felt like an odd bolt-on to the movie. It would have benefitted from being included in the film and not the credits.

Overall Hallow Road is a largely tepid, slightly creepy story of parents rushing to the aid of the child but I now grow weary of so many indie films choosing to use amibiguity as a means to add weight to their story. Sometimes I would just like a tied up ending.

Just Got out of a Screening of Hallow Road

📱- It was such a Great watch, lots of tension building because of the situation and the phone calls, the parents on their way to Alice at Night Time, on a long Dark road. The Constant Phone Calls Back and Forth etc. All of that was Great.

😳 - The Deeply Unsettling Sound Effects, talks of Dead Bodies Faces Morphing was Very Disturbing as I watched.

🤔 - All of this leads to 2 Things for the Viewer.

🤔 - Either, all that built up was for pretty much nothing, and when you leave the Cinema, you will be disappointed with the Explanation. Because when we get to the destination, #1. All of the Stuff Preceding it wouldn't have made any sense. Or #2. You Will Embrace the Supernatural/Well then what Really Happened? Direction.

So Overall, a Great Watch with what would be seen to be multiple interpretations of what really happened. It's up to the Viewer to Examine and Conclude to an Explanation of What actually Happened.

Horror thrives in confined, singular locations-and "Hallow Road" is no exception.

While technically set across a few places, the core of the film unfolds almost entirely inside a car, driven by tense, unsettling dialogue that rarely lets up.

It's hard to discuss this film without revealing too much, but that's the thrill of film criticism: unpacking themes without spoiling the experience.

Directed by Babak Anvari, "Hallow Road" fits neatly into the "dashcam cinema"-a horror sub-genre where most of the story unfolds through dashboard or onboard camera footage, heightening realism and claustrophobia.

The film's strength lies in the performances of its three leads: Rosamund Pike and Matthew Rhys as a married couple, and Megan McDonnell as their daughter, Alice. Together, they balance parental instinct with quiet dread, delivering performances that emotionally anchor the film.

When Alice calls her mother in a panic-having hit and killed a girl on the remote Hallow Road in the fictional town of Ashfolk-it sets off a psychological mystery told almost entirely through a phone call and in-car dialogue.

The cinematography is cloaked in shadow, using the night not just as a setting, but as a symbol of the unknown-where every frame hums with mystery, suppressed fear, and the creeping sense that something is just out of sight.

As a viewer, you're confined with the parents-just their car, a phone, and Alice's disembodied voice guiding you through a spiral of guilt, fear, and confusion.

The film explores how language can disturb more deeply than imagery, and how those we trust most can become sources of dread.

"Hallow Road" is a haunting meditation on parenting, moral ambiguity, and the fragile boundary between safety and threat.

It's the kind of horror that doesn't scream-it lingers, whispering long after the screen fades to black.