Two stars. Rating: R, for violence, profanity and disturbing content
By Derrick Bang
This is a taut and tidy little
thriller ... for awhile.
Unfortunately, the need to
sustain the wafer-thin premise for 90 minutes prompts plot developments that
are increasingly contrived, tawdry and — ultimately — downright stupid.
 |
| The calm before the storm: LAPD 911 operator Jordan Turner (Halle Berry) is good at her job; indeed, she's one of the best. But all her training goes for naught when an unknown nutjob goes on a serial kidnapping spree ... and worse. Alas, Jordan's behavior will get pretty damn stupid by the time this numbnuts story concludes. |
Not to mention exploitatively
violent, with director Brad Anderson lingering almost lovingly on moments of
gruesome death. By the time we hit the third act and its jaw-droppingly
ludicrous conclusion, we’re firmly in the realm of exploitative trash.
Chalk up another dog on Halle
Barry’s increasingly lamentable résumé. This woman has no taste or judgment
whatsoever.
We also must wonder why anybody
saw merit in Richard D’Ovidio’s brain-dead script, which feels like a
one-sentence “What if” concept stretched far beyond its limits. I note that
D’Ovidio had help from Nicole D’Ovidio and Jon Bokenkamp for the initial story,
which staggers the imagination. It took three
people to cobble together this laughable mess? The mind doth boggle.
That said, the first act is
promising, as Anderson and cinematographer Tom Yatsko slowly swoop through the
“hive” of the greater Los Angeles 911 call center, hovering over operators one
by one, as they assess emergencies — and trivial nonsense — while logging
details via an impressive computer interface. We finally come to rest on Jordan
Turner (Berry), a crisp and efficient veteran who calmly handles everything
that comes.
Including an inebriated “regular”
who somehow seems to reach her whenever he desires. Which begs an obvious
question — since I’m not aware that one has the option of requesting specific
operators when dialing 911 — but hey, we’ll grant this rather odd detail for
the sake of a quick smile.
The levity doesn’t linger,
though, because Jordan’s next call comes from a terrified teenager who’s alone
in her house as an intruder is breaking in. Jordan rises to the challenge, and
one must credit Berry for navigating the escalating situation with a persuasive
blend of calm and crisp efficiency; she does look and sound right for the part.
But it quickly becomes apparent —
to us first, and then to Jordan and her increasingly concerned colleagues —
that this is no mere burglary. This particular intruder’s intentions are far
worse, and Jordan can only listen helplessly as the grim scenario unfolds.
A day or two later, the girl’s
body is found.
