Hell

Hell (German for bright) is a nice little German contribution to the post-apocalyptic genre. The story evolves around a small group of survivors in post-apocalyptic Germany: solar flares have destroyed the earth's atmosphere and global temperatures have risen. In the day the sunlight is so strong and hot that travelling outside during daylight hours is dangerous. As in many movies of that genre the law is simple: Homo homini lupus...

A good production and decent acting make this little flick one that plays in the major league of the genre. Good.

Tim Fehlbaum's Hell depicts planet Earth as a barren, desolate wasteland that was once infested with blooming life. The cinematography of the dry, insufferable heat is so containing and properly handled that it almost bathes the viewer in hot flashes to the point where I was totally willing to step outside with no coat in the middle of Chicago cold. In terms of look, feel, and liveliness, it's a seriously effective thriller. As a film adding to the recent popular but rarely impressive genre of post-apocalyptic thrillers, it's more or less the same thing we've grown accustomed to.

Hell (also ridiculously titled Apocalypse in some retail chains) has one major selling point and that's its producer, the iconic German filmmaker Roland Emmerich, who has made a name for himself in the field of disaster films such as the American adaptation of the Japanese Godzilla series and Independence Day. Perhaps his producer's credit was earned in the fact that he saw a bit of his most recent film (at the time), 2012 in Hell. Unlike his picture which hammed up the nonsensical action and took almost nothing seriously in a long, winded two and a half hour film, Hell capitalizes on character relations and subtlety rather than tossing special effects at the viewer in an apparent contest.

We are placed in 2016, and learn immediately that the Earth has warmed at unprecedented rates, increasing 10°C because of solar flares destroying the atmosphere of Earth. The few survivors must shield their skin with excess clothing, gloves, smocks, and anything they can potentially protect themselves with from the increasing heat of the sun. We soon meet Marie (Hannah Herzsprung) a young woman traveling the ruins of parched roads with her boyfriend and younger sister. After picking up a man who claims that he can help them, (right after almost killing all three of them for their diminishing water supply) the three make an unplanned stop leaving the sister left in the car, which has its windows covered with newspaper and barricaded off. She is taken by a group of survivors who thrive on cannibalism in this newfound hellish world, and after her boyfriend splits, Marie and the hitchhiker attempt to recover her younger sister before she is subjected to uncertain doom.

Fehlbaum treats his characters respectively, not having them shout ridiculous lines, or commit acts of impulsiveness with not even a shred of a thought process as to why. He makes grand use out of his small cast of newcomers and on top of that, creates crafty tension with his co-writers Oliver Kahl and Thomas Woebke using long, uncertain shots that focus either on characters or dried-out, empty landscapes.

But the kicker here is the wonderfully captured, hauntingly displayed, almost blinding cinematography, that cinematographer Markus Förderer personifies into its own character rather quickly. He opens the picture showing off the film's inherently brutal climate with no points of being intrusive or to irritate the casual viewer. It's all a means to concoct suspense and atmosphere for maximum effect. Fehlbaum's Hell has its share of ups and downs, and after a while, you begin to realize you're seeing the same type of areas over and over again. Like movies of its genre, it fluctuates between interesting and not, repetitive and enticing, and beautifully stylistic and much of a muchness. Thankfully, its negative traits are minimized because the film never overstays its eighty-nine minute welcome and provides us with smarter entertainment than I'm sure many of us were expecting.

Starring: Hannah Herzsprung, Stipe Erceg, Lars Eidinger, Lisa Vicari, and Angela Winkler. Directed by: Tim Fehlbaum.

No matter what the language I do love a post apocalyptic thriller.

This has an excellent start, and kept my interest right up to the credits. The backdrop is set very efficiently in the first few minutes of the opening scene, where we meet the main characters.

The characters are intriguing (and as it turns out) quite believable.

As the title may suggest this particular post apocalyptic world is fairly hazardous (aren't they always) and there is a good degree of tension as the characters try to deal with a hostile environment, and each other.

Great acting, no special effects. We aren't treated to a deserted Berlin sequence but the settings in the countryside are simple and professionally handled - you can almost taste the dust.

The only two gripes I have with the film is about a quarter of it is shot in darkness which I don't approve of, and I wanted the action to last a bit longer.

If you are a fan of post apocalyptic movies then this is a must see

Jeez,

Some of the reviews on here are tough. This is a well acted, well shot creepy post-apocalyptic independent film!

Is it perfect? What film- or for that matter what work of art- is perfection? It seems that IMDb has become a meeting place for all the review-trolls on the internet. Let's all log on and say how bad everyone's attempts at art are.

Do any of these reviewers know the artistry it takes to shoot and cut together a film like HELL? I say kudos to the entire crew and certainly to the cast which were all top notch actors.

Did the other reviewers watch the same film I did?

This is hands down one of the best films I've seen recently.

Probably the best thing about Hell is that it shows how The Road would turn out without the media frenzy: almost unnoticed and scoring averagely on IMDb. This might not be the best way to start the review, yet as the movie progresses one starts wondering whether Hell's authors could have chosen a different path. Either way, the result is a straightforward post-apocalyptic thriller.

The advantage of not having a major studio in the background is the absence of pretentiousness. If you're into such movies, you'll like it. If not, you won't go to see it in the first place. In my opinion, this only adds to Hell's artistic merit.

I can't tell whether the title (meaning bright in German) is a wordplay on purpose or a slip of a tongue, but this is a pleasant surprise for a German-Swiss production.