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6,1/10
1,9 mil
SUA AVALIAÇÃO
Garota que vive num chalé afastado espera uma visita. O homem que chega lhe é estranho, mas sabe tudo sobre ela, inclusive que o amigo que espera não virá. E desenvolve um clima de terror ps... Ler tudoGarota que vive num chalé afastado espera uma visita. O homem que chega lhe é estranho, mas sabe tudo sobre ela, inclusive que o amigo que espera não virá. E desenvolve um clima de terror psicológico enquanto a mantém cativa.Garota que vive num chalé afastado espera uma visita. O homem que chega lhe é estranho, mas sabe tudo sobre ela, inclusive que o amigo que espera não virá. E desenvolve um clima de terror psicológico enquanto a mantém cativa.
- Direção
- Roteirista
- Artistas
- Prêmios
- 1 indicação no total
Madolyn Smith Osborne
- The Girl
- (as Madolyn Smith)
Avaliações em destaque
It's one of those movies which is progressively making you question if You are going mad / not clever enough to understand any freakin thing in this picture. Then something happens at the very end, and you go A-a-a-a-a-a-a-a-!..!.!...
...and you are probably supposed to re-watch now actually getting the point of every happening and strange set dressings.
Gotta admit the intriguing third "sci-fi" tag made me watching it in the end, and i was right: it is not just an inconsequential "stranger from the street keeps a naive poor soul on her toes for an hour" type of flick.
But don't ask me what type of flick it really is either, because i'm not sure if we are even expected to fully understand what is going on. All i say is, the film sorta hints at the possibility that The Girl is either the last person alive on Earth, or she is one of the handful of "lucky ones" left, being tormented.
I'm yet to re-watch some time, maybe i will be able to rate higher once i saw these two acting the way they do, now in a different light.
...and you are probably supposed to re-watch now actually getting the point of every happening and strange set dressings.
Gotta admit the intriguing third "sci-fi" tag made me watching it in the end, and i was right: it is not just an inconsequential "stranger from the street keeps a naive poor soul on her toes for an hour" type of flick.
But don't ask me what type of flick it really is either, because i'm not sure if we are even expected to fully understand what is going on. All i say is, the film sorta hints at the possibility that The Girl is either the last person alive on Earth, or she is one of the handful of "lucky ones" left, being tormented.
I'm yet to re-watch some time, maybe i will be able to rate higher once i saw these two acting the way they do, now in a different light.
These weird, gapless phone calls; this plastic artificiality; the completely unnatural emotional reactions: are these evidence that what we're witnessing is mental illness, something supernatural, or "just 80s movie things"? Only at this moment in history could that full range of possibilities exist.
And that gamut is what's going to keep you gripped in the oddest possible way. You can never simply guess or second-guess what's going on, because you always know that in 80s cinema this could be a representation of something more mundane. From that possibility, many more can spring. Your mind becomes a field of spinning plates: perhaps it's a weird mating dance between people who've lost their spark, someone/everyone is a psychopath, someone/everyone has memory loss, the list goes on.
You are absolutely never going to guess the twist, and how you react to that revelation will largely rest on how much you enjoyed the ridiculous build-up. If you allowed the campness to wash over you, the ending will be an absurd delight but if it was trying your patience then the ending is going to make you rage.
There's something particularly adorable about the way this film clearly thinks it's playing a classy two-hander worthy of the stage. I mean, it's not. It's absolutely not. Awww, but bless its heart.
And that gamut is what's going to keep you gripped in the oddest possible way. You can never simply guess or second-guess what's going on, because you always know that in 80s cinema this could be a representation of something more mundane. From that possibility, many more can spring. Your mind becomes a field of spinning plates: perhaps it's a weird mating dance between people who've lost their spark, someone/everyone is a psychopath, someone/everyone has memory loss, the list goes on.
You are absolutely never going to guess the twist, and how you react to that revelation will largely rest on how much you enjoyed the ridiculous build-up. If you allowed the campness to wash over you, the ending will be an absurd delight but if it was trying your patience then the ending is going to make you rage.
There's something particularly adorable about the way this film clearly thinks it's playing a classy two-hander worthy of the stage. I mean, it's not. It's absolutely not. Awww, but bless its heart.
THE CALLER is a very strange psychological thriller put out by Charlie Band's Empire Pictures outfit. It plays out as a two-hander in which a mysterious young woman is visited by an older stranger at her cabin-in-the-woods home, and the story follows their developing relationship which appears to be based on secrets, lies and game-playing. The chief draw here is Malcolm McDowell, who gives a typically eccentric performance, but sadly the actress they've put him up against simply isn't very good. The script is pretty poor too, with little suspense and then a big twist at the end which reminded me of Norman J. Warren's PREY, albeit less effective.
Strange, gripping drama for the first 90% of the movie. McDowell plays his character with a weird calm intensity that keeps your eyes glued to him. Madolyn Smith-Osborne, a terrific actress here and someone who I never heard of, plays a woman who looks like she's about to come unhinged at any moment.
Part of the problem with this very dialogue-intense movie is that it builds up to such a dramatic climax that it's impossible to keep it going through any explanation of what's really going on. And the explanation really cheapens things.
What's really great about this movie is the interplay between the two (and only two) characters. In some parts it's brilliant. I wish I had stopped watching some time before Smith-Osborne got all her points, however.
Part of the problem with this very dialogue-intense movie is that it builds up to such a dramatic climax that it's impossible to keep it going through any explanation of what's really going on. And the explanation really cheapens things.
What's really great about this movie is the interplay between the two (and only two) characters. In some parts it's brilliant. I wish I had stopped watching some time before Smith-Osborne got all her points, however.
The suspense of this movie made me late for work, when I got to work I discovered everyone else was late due to this movie being so suspenseful! The movie description tells you all you need to know. The end is something you must see only because I did, and it's only fair you do too. Will say this though; I didn't see it coming. There really isn't much more to say and I don't want to spoil this for any of you so I will most certainly not do that. The acting is decent, and the direction is very good so this is not by any means a waste of time. I say that because I know this will be the initial reaction of most people.
Você sabia?
- CuriosidadesAbout 39 minutes in The Caller, Malcolm McDowell, makes reference to Jack the Ripper. He played H.G. Wells in the film Um Século em 43 Minutos (1979) where he pursued Jack the Ripper who uses H.G. Wells' time machine to escape the time period 1893.
- Erros de gravaçãoMadolyn Smith said she took a wheel from the 'T'-Bird to replace the one on her Land Rover, but it would not have fitted. T bird wheels had a fitment of 5 x 4.5" x 1/2" stud. Land Rover's have 5 x 6.5 x M14 or M16 stud.
- ConexõesFeatured in Best of the Worst: Back in Action vs. Enemy Territory (2023)
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