Sebastian Fitzeks Der Heimweg

This Sebastian Fitzek adaptation attempts to wrap a serious subject such as domestic violence in a thriller with horror elements, but fails miserably due to the lurid and implausible production. The plot is contrived and overloaded, the characters act irrationally, and any emotion is left by the wayside. Instead of creating concern or suspense, the film loses itself in clichéd twists and pseudo-dramatic moments. A sensitive subject is misused in a clumsy way that not only disappoints but also annoys. Unfortunately a low point, despite solid acting, especially by Luise Heyer - 2.5 out of 10 stars.

This is a German movie which I started watching in the dubbed English like many dubbed movies the accents and choice of words diminishes the whole character of the movie. The weird posh accents just seemed to robotic, so I watched in German with translation. It was much better

"The Calendar Killer" delivers a tense and chilling thriller that effectively explores the psychological impact of domestic abuse. The film masterfully builds suspense, leaving the audience constantly on edge as Klara's paranoia escalates. The performances are strong, particularly Luise Heyer as Klara, who portrays her character's fear and desperation with raw intensity.

However, the film's reliance on familiar thriller tropes and predictable twists can diminish its impact. The pacing occasionally falters, and some plot points feel contrived. While the exploration of domestic abuse adds a layer of depth, it sometimes overshadows the suspense elements.

Overall, "The Calendar Killer" is a gripping watch with a compelling premise, but it struggles to fully break free from genre conventions. It's a solid thriller that will keep viewers engaged, but may leave some wanting more originality and depth.

(2024) The Calendar Killer/ Sebastian Fitzeks Der Heimweg (In German with English subtitles) PSYCHOLOGICAL THRILLER

At the intro from the news media about the "Calendar Killer" for the reason he has been given that name is because he jots the exact day each victim is going to be killed. The difference is viewers do not know who "The Calendar killer" is nor know what he looks like, until the very end. The next scene has Jules (Sabin Tambrea) in charge of his own call in hotline for women called "Walk Me Home Hotline" and giving some helpful and useful advice to a lady who phoned in regarding a group of men. And as a result of some advice, she managed to wait around long enough to get on to her bus. Jules next caller is Klara (Luise Heyer) who she is on a midlife crisis claiming she was on the domain of the killer himself until she found a way to escape. And for the next hour or so, we know more about the lives of both Klara and Jules. From Klara and her so called important abusive husband, Martin (Friedrich Mücke) and how Jules motivated to have his own "walk me home" service operator, that has something to do with the loss of his wife while he was working as a 911 operator.

The revelation that lead up to the Calendar killer makes no sense as viewers are completely oblivious about his connection and his previous victims whomever that might be.

I watched The Calendar Killer because it seemed like a short thriller with the potential to entertain me. I wasn't expecting a masterpiece, and maybe that's why I found it competent in keeping the audience engaged.

The plot follows a killer who forces his female victims to choose between dying or killing their own husbands. The story mainly focuses on a woman facing this ultimatum, who finds support from a man working at a domestic abuse helpline. Together, they navigate the tense events of that night in an attempt to survive.

The concept is interesting, and I love "race against time" thrillers. The film managed to hold my attention, especially by addressing sensitive and important topics like domestic violence. However, I felt it lacked balance between suspense, mystery, and drama. There were moments when I was fully immersed in the tense game between the victim and the killer, but they were abruptly interrupted by dramatic scenes that broke the intensity. On the other hand, when I got invested in the protagonist's emotional struggles and complex relationship, I was suddenly thrown back into the fast-paced suspense. The editing didn't help much in this regard, making the narrative feel a bit disjointed.

The plot twists were another weak point for me. While some were interesting, they felt forced and even unrealistic at times. Moreover, a small detail early in the film made me suspicious of the final reveal, which took away some of its impact. But I admit this might be my fault, as I'm quite familiar with the tricks thrillers use to mislead the audience.

Overall, The Calendar Killer isn't a bad film, but it's far from fantastic. It does its job of entertaining and, in the process, touches on an important and heavy topic. However, its approach remains somewhat superficial, never fully exploring the depth of the issue. It's an easy watch, but not a memorable one.

It's not every day that you get to see a real psychological shocker from the German-speaking world. Only a global streaming service like AMAZON PRIME VIDEO can finance that. And Sebastian FITZEK is also a sure guarantee of success. The Berliner, born in 1971, has been writing successful novels in the thriller genre for years. THE WAY HOME was published in 2020 and has now been made into a film by the Caracas-born director Adolfo KOLMERER (who shot several episodes of the very exciting ARD series ODERBRUCH) as THE CALENDAR KILLER.

There is a serial killer on the loose in Berlin who threatens to murder couples on set days. Klara (Luise HEYER) has also received such a warning: she or her husband Martin (Friedrich MÜCKE) are to die. In her distress, Klara has often turned to the escort hotline, which promises to accompany women on their way home by telephone in dangerous situations. The sensitive Jules (Sabin TAMBREA) works there and accompanies the frightened Klara through an eventful night, at least on the phone.

Not a bad idea for a modern thriller! However, flashbacks and improbabilities mean that the tension is less than it could be. The actors are very convincing, and Rainer BOCK plays a very dubious supporting role. The film's production is excellent, but it is not a masterpiece of the genre. However, the film shows what would be possible in the German-speaking entertainment industry if more people in charge dared to try out unusual narrative styles. At least a start has been made. It's worth a look!