NOTE IMDb
6,1/10
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Ajouter une intrigue dans votre langueA woman, living in an isolated cabin, lets a mysterious stranger in to make a phone call.A woman, living in an isolated cabin, lets a mysterious stranger in to make a phone call.A woman, living in an isolated cabin, lets a mysterious stranger in to make a phone call.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 1 nomination au total
Madolyn Smith Osborne
- The Girl
- (as Madolyn Smith)
Histoire
Le saviez-vous
- AnecdotesAbout 39 minutes in The Caller, Malcolm McDowell, makes reference to Jack the Ripper. He played H.G. Wells in the film C'était demain (1979) where he pursued Jack the Ripper who uses H.G. Wells' time machine to escape the time period 1893.
- GaffesMadolyn 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.
- ConnexionsFeatured in Best of the Worst: Back in Action vs. Enemy Territory (2023)
Commentaire à la une
An undeservedly forgotten little feature by Empire Pictures. Where has this one been hiding? Instead of relying heavily on special effects, 'The Caller' sticks to an audaciously thought-provoking screenplay and confidently notable performances by its only two, but spellbinding cast members Malcolm McDowell and Madolyn Smith-Osborne.
A young lady living in the woods waiting for her guest to arrive for dinner is being unknowingly watched. There's suddenly a knock at the door, but it's a mysterious man who wants to use her phone as his had a car accident. But what follows on from that leads to the two questioning each other's motives and the true meaning of their encounter.
It would be an understatement if I called it strangely unconventional, as nothing seems quite what it is and due to that nature it's plain gripping. Watching the battle of wills and wits between McDowell and Smith is brought across with pure intensity, bold authenticity and a touch of sinisterness. As one thinks they have the upper hand, soon it comes crashing down, but the mind games still flow. The true intentions is mystifying on what's going on with these fabrications, up until the unhinged climax (where I can see why it could be a turn off or disappointment of some sort) that really does throw you of course and lands you back at square one. There's no-way any one can find this calculative fodder predictable. Michael Sloane's enduring story is cerebrally crafted as while it's talky, the twisty nature is well observed in its details of the plot and character's progression. The verbal confrontations rally up the unbearable tension and emotional drive. How it plays out is like something out of a stage show and Arthur Allan Seidelman's tautly measured direction lends to that magnifying atmosphere. You truly get the sense that there's on one else about, other then these two (nameless) characters. McDowell's quietly edgy turn is hypnotic and Smith's neurotically vulnerable persona is creditably delivered. Watching these two steadfast performances and their chemistry together was fantastic. The remote woodland setting adds to the isolated and uneasy style of the feature. Richard Band's score is minimal, but titillatingly subtle and eerie.
An oddly disorientating and elaborate, if simulating addition to Empire Pictures.
A young lady living in the woods waiting for her guest to arrive for dinner is being unknowingly watched. There's suddenly a knock at the door, but it's a mysterious man who wants to use her phone as his had a car accident. But what follows on from that leads to the two questioning each other's motives and the true meaning of their encounter.
It would be an understatement if I called it strangely unconventional, as nothing seems quite what it is and due to that nature it's plain gripping. Watching the battle of wills and wits between McDowell and Smith is brought across with pure intensity, bold authenticity and a touch of sinisterness. As one thinks they have the upper hand, soon it comes crashing down, but the mind games still flow. The true intentions is mystifying on what's going on with these fabrications, up until the unhinged climax (where I can see why it could be a turn off or disappointment of some sort) that really does throw you of course and lands you back at square one. There's no-way any one can find this calculative fodder predictable. Michael Sloane's enduring story is cerebrally crafted as while it's talky, the twisty nature is well observed in its details of the plot and character's progression. The verbal confrontations rally up the unbearable tension and emotional drive. How it plays out is like something out of a stage show and Arthur Allan Seidelman's tautly measured direction lends to that magnifying atmosphere. You truly get the sense that there's on one else about, other then these two (nameless) characters. McDowell's quietly edgy turn is hypnotic and Smith's neurotically vulnerable persona is creditably delivered. Watching these two steadfast performances and their chemistry together was fantastic. The remote woodland setting adds to the isolated and uneasy style of the feature. Richard Band's score is minimal, but titillatingly subtle and eerie.
An oddly disorientating and elaborate, if simulating addition to Empire Pictures.
Utile•458
- lost-in-limbo
- 26 oct. 2008
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