Celular: Um Grito de Socorro

The movie centers the abduction of Kim Basinger and her son carried out by Jason Statham and others . She speaks by telephone with Chris Evans' cellular and he tries to free her. Chris is helped by a good police, played by William H. Macy , and his girlfriend , Jessica Biel.

In the movie there are car pursuits , thriller , surprises , emotions and it is enough amusing . From start to finish the noisy action pace is unstopped. The confrontation between the starring and the nasties is stimulating and stunning . The races of cars in the motorway are breathtaking and overwhelming and there are a little bit of humor concerning to a cocky driver. The picture obtained a great success at the box office all around the world , it's a real blockbuster. Kim Basinger interpretation is top-notch , she is beautiful in spite of being fifty years old . Chris Evans is nice , he has a good future . Chris Evans did his own car stunts. Before production began, he was trained for five weeks at a Los Angeles stunt school. Most of the stunts are done by the actors themselves, too . The support cast is riveting : Jason Statham makes an fascinating villain and William H. Macy interprets magnificently an agreeable pólice .

The motion picture was well directed by David R. Ellis, a good craftsman who started as stuntsman and director assistant . He has made nice and suspenseful thrillers such as Final destination , Asylum , Snakes on the plane and Jaws 3D . The yarn will appeal action-packed and suspense fans. Rating : 7/10 .Well catching.

"Cellular" has the setup for a solid straight-ahead thriller: A kidnap victim who does not know where she is being held phones a total stranger who must then stay connected on his cell phone to find her before she is killed. Joel Schumacher scored earlier with a similarly phone-themed Larry Cohen story, "Phone Booth." As executed by tone-deaf director David R. Ellis, however, "Cellular" becomes an unintentionally hilarious cousin to Brian de Palma's "Raising Cain" and "Snake Eyes."

Ellis seems to have unwittingly spliced together two different films with mismatched tones: Kim Basinger as the kidnapee and Jason Statham as the kidnapper occupy the deadly-serious, straight-to-video thriller half, while Chris Evans as the rescuer and William H. Macy as a police officer seem to be in a "Saturday Night Live"-alum action comedy. Nowhere else is the disjointedness in tone more apparent than when Basinger and Evans's performances are placed side-by-side during their conversations: The scenes keep cutting between an overwrought Basinger wringing out every drop of melodrama, while a blissfully inept Evans seems to be channeling a cross between Chris Kattan/Jimmy Fallon and Ben Affleck/Keanu Reeves.

Meanwhile, Ellis pulls out tricks intended to generate thrills and surprises. He throws in out-of-nowhere "shocks," a la "Final Destination"; he throws in flashbacks; he throws in a gun-blazing Macy in Jerry Bruckheimer action-hero slo-mo; and yet, Ellis has no handle on staging any of them competently. Case in point: "Cellular" is the proud owner of one of the most ineptly scored chase sequences ever, as if Ellis simply heard a snippet of the song's lyrics ("...where you gonna run to?") literally and paid no attention to the inappropriateness of the accompanying music (which just bop, bop, bops along). (The song is even reprised during the closing credits, which itself is misbegotten in conception.)

And yet, for all of its failures as art, "Cellular" is always entertaining for those very same faults.

I like a movie that takes an idea or a theme or just an amusing gimmick and then runs with it. There is something exhilarating about being able to exhaust the possibilities of an idea without beating the whole thing to death. A great example is GROUNDHOG DAY; just when you think the filmmakers have milked the idea for all it's worth, they take off on a totally new tangent and the film ends up getting better and better. It is a sign that the writer and/or the director are thrilled with the sheer joy of creative exploration. They aren't just playing by the numbers, but are eager to go beyond expectations. This is film-making as a challenging game.

CELLULAR, while not in the same league as GROUNDHOG DAY, is nonetheless a good example of this type of storytelling. This time the linchpin of the story is the cell phone. The filmmakers seem to have made a list of everything that makes cell phones great (emergency use, portability, digital photography, etc.) as well as what makes them a nuisance (ringing at inappropriate times, crossed connections, lost signals, dying batteries, etc.) and incorporated both lists into a story. The trick isn't just to gerryrig the list into a story, but to do so in a coherent and plausible fashion. CELLULAR is a crackerjack piece of storytelling. The storyline is unlikely, but not impossible and it all unfolds at a steady clip that makes any loophole or implausibility fly by so fast that the viewer has little time to raise a question.

Beyond the gimmickry of the storytelling, the film also benefits from being a solid, efficient, no-nonsense piece of film-making. Directed by actor-turned-stuntman-turned-director David R. Ellis, this is an action-packed thriller that knows the value of blending action with humor and character. Without loosing its manic pace, the film nevertheless takes time for puckish humor and character development. As the damsel in distress, the Hitchcockian innocent man sucked into a web of intrigue and the retiring cop facing his one last case, the actors could have been saddled with one-note, cliché characters. But Kim Basinger, Chris Evans and William H. Macy are given ample room to not only act, but to create characters who are, more importantly, smart. They aren't at the mercy of the complicated plot, they are what moves it along.

My one genuine reservation with CELLULAR is that it is destined to become dated so very fast. Technology, the film's driving force, will quickly be its undoing. It brings to mind old episodes of the "Columbo" TV series, where Peter Falk's Lt. Columbo is seen to be in awe of computers and answering machines and video cameras and VCRs, and he has to go into great detail explaining how such gadgets and gizmos work and how they can be used as part of a murder plot. The cutting edge technology of the time now seems so elementary that Columbo's naivete seems rather silly. Yet, the Columbo stories still hold up thanks to clever storytelling and strong characters played by good actors. And from that perspective, CELLULAR just might hold up to be a minor classic, albeit as a period piece.

I watched"Cellular" recently in 2015,and I was very satisfied. This film revolves around Jessica(Kim Basinger) she was kidnapped, and she dials a random number which is Ryan's number (Chris Evans) who being coward person , he avoids helping people too .Howeve Ryan will launch in an incredible race against time to save Jessica, as well as he has no idea about what await him.

The film was very amusing,exciting and entertaining. Besides i was well written,well acted and well directed. We as Moroccan people we can watch it with our parents, that's means that this movie does no include scenes which are inappropriate, so "Cellular" can be watched by all age categories.

Personally I think that this film transmit an important message to boys, especially to careless boys.

All in all, I really enjoyed watching this captivating film

This movie whisked me away and entertained me so thoroughly I barely knew what had happened. Look, I've heard say there are plot holes you could drive a truck through, and I do get motivated by tight and clever screenplays, but this movie did something very few movies have ever made me do: it made me happily overlook whatever minor flaws it has in favor of just enjoying it as a mutifaceted, beautifully executed, almost one-of-a-kind movie-going experience. My wife and I both alternately laughed and cried, and we both agreed it was probably the best (fun) movie we've seen in a very long time. Bravo all concerned!

As if to prove my point, this morning I heard a review by some critic writing for Newsday (out of New York). The guy was so pathetically ENVIOUS of this so-not-New York movie that I had to laugh out loud in sheer delight.