September 25, 2016

Is ‘The Call,” a new B-movie classic?

For the first hour or so of The Call, you’ll think you’re watching a new B-movie classic.

The picture is staged as a typical ‘special location’ thriller. We get a solid prologue, a decent chunk of the movie set during the actual situation we paid to see, and then, as must always be a the case, a finale set away from the prime location.

Speed had to eventually leave the bus, Shoot to Kill had to eventually get out of the mountains, and Red Eye couldn’t just end on that plane. It’s how a film like this handles the eventual disembarking that determines its overall success. Sadly, The Call blows the dismount by a considerable margin, trading plausible real-world tension for generic genre cliches. But up until that time, it is a superior thriller, and a successful return to the somewhat lost art of what Roger Ebert liked to call the bruised-forearm movie.

For the first 2/3, The Call is a nearly perfect example of what it’s trying to be.

To read more go to Mendelson’s Memos

Follow Hollywood News on Twitter for up-to-date news information.

Hollywood News, Hollywood Awards, Awards, Movies, News, Award News, Breaking News, Entertainment News, Movie News, Music News

About Scott Mendelson

Mendelson's Memos: The basics - 30 years old, married with one child, currently residing in Woodland Hills, CA. I am simply a longtime film critic and pundit of sorts, especially in the realm of box office. The main content will be film reviews, trailer reviews, essays, and box office analysis and comparison. I also syndicate myself at The Huffington Post and Open Salon. I will update as often as my schedule allows. Yes, I'm on Facebook/Twitter/LinkIn, so feel free to find me there. All comments are appreciated, just be civil and try to keep a level discourse, as I will make every effort to do the same. Read more at Mendelson's Memos:

Follow us

Breaking Hollywood News   


UPDATES BY EMAIL

Leave a comment

You must be logged in to post a comment.