Rosamund Pike & Matthew Rhys on a road to anywhere
The minimum, and the second, almost, can take from the single horror tools that are detected in the actual time-and it is necessary-any number of official and narrative freedoms, but it is very important to use them to transfer us to the place where they revolve around. The latest movie by the British Iranian director Babak Anvari (“Under the Shadow”) only gets the middle of the road before being lost in the fog of his high ideas.
The story of religion outside the synchronization is flying on a night highway to save their daughter after she was crashed into a girl while driving through a strange forest, “Hallow Road” makes a very tense watch that the fans who flow to the closest diving platform or social media platform for the Easter Egs and Froth map will bring on the Great Semiotics. Unfortunately, the film never exceeds its accent from a present and tangible danger to become a more satisfactory piece.
A degree of removal is rooted in the perception and implementation of the film. It begins to choose Anvari and DP Kit Fraser to switch from 16 mm to digital movie early. “Hallow Road” opens with luscious shots via a forest of spiritual thumbs, then a frying pan for the abandoned girl shoes in the moss. Popular horror effects? From there, it is still on the cellopy, we cut inside a house of medium -lit warm -lit, as the camera turns consciously through evidence: incomplete meal, half -consuming wine cups, sculpted pumpkin (ah, is Halloween), and broken glass to the corner. drama!
Maadi (Rosamund Pike), asleep in the bedroom, and Frank (Matthew Reese), passed through his home office, woke up through a feverish call from their teenage daughter Alice (Megan McDonnell), which we know on the entire film only by voice on the phone and the approval of prior approval for a sweet profile. We gathered together that Maddie and Frank had an argument with Alice, after which she escaped in his car and is now panicked after the strange accident. They rush to help it, and as soon as Frank enters the title on the GPS system – “Hallow Road” – the frame, such as Clockworklylyly, nails to digital.
The full watch takes place within the car, where RHYS and Pike swing between grants, painful calls, fossil silence, and some SFX that fit the bones. Bejd along with these two good actors, we are more familiar with Maddie and Frank as characters. Madi is a paramedic, and thus detector. It discovers legumes, children under the effect, the accuracy of the timing of the chest pumps, which it requires poor, high, to perform the girl she ran in the forest.
But although it is more rational and injured for parents, Maddie has a bad state of exaggeration in estimating the importance of its vocational training on the disaster on hand. This is what Frank thinks, at least. It is the opposite of his wife in every way: the emotional father, the sacrifice, a mood that fits a bad suit on his gentle personality as a marketing manager. It is a mistake in the Sartorial that RHYS wears the best, the actor’s performance is a thousand miles removed from his enchanting and oxidized eating on Perry Mason.
Things become less interesting only with their night wearers, as the plot threads mix with loose with the predictive secrets that these characters have long been holding before the start of the movie. For screenwriter William Gilllis, it seems that the immediate attractiveness of history is the absence of history. Anfari is ready to work with that, because it tends to uncertainty and amazing comment fueled by the story of the movie.
On paper, you should work a large number of mystery of innovations. Little or non -car, a few shots that are not based on the road from inside the car, and a few GPS (GPS) – the tongue in the cheek to be the parents in an unknown area – starts to keep us on the edge of the abyss. Fraser, in turn, distracts us by making the interior of the car a piece of organic lighting (do not complain, with this actor), at least until the middle of the road when the story is interested in the changing ego, and turns from excitement to terror. In this twilight area, the extreme close to material eyes and Frank terrifying, the sudden photography of the road in the soft focus, and the width of the forest -like forest on behalf of frankly.
However, we do not feel terror to Characters like Anfari and Gillies are able to do. The primary separation between the high treatment of the type of type and the ability of the directors continues to generate real fear on the foundations of Frank, material, especially Alice.
The bullish trend of the pure “Hallow Road’s” exercise is that Anvari finds the sunny side of this lack of this anywhere. The downside is that it also deprives us of the pleasures of playing with popular horror tropics. When a good Samaritan character appears – like Alice, you only hear via the phone – our infiltrators are raised immediately – how can the sugar voice evoke a lot of fear? Before we can really chew her in her signals to PIPER or Project Tarees Grim Fairy Tales on the fate of Alice, Gillies and Anvari ride to the fifth equipment, and the introduction of the definition, with characters that emerge like “I want a better story”, “I asked all the wrong questions”, and “I made you uncomfortable?” After that, in the end, filmmakers completely come out of the detection simulation.
The problem is that it is really difficult to be modern and post -modernism equally, and it feels that it is deceptive that events indicate real feelings when you are very fast in overcoming the veil. Doing this opens the intention behind Anfari’s options and leaves the cinematic text very open. I felt for a long time in the strange valleys in the movie, and my mind is accelerating to the official and narrative virtues of other most successful films that interfere with this movie: Coralin and the concrete symbolism of the other mother; The concentrated existential crisis of the Lock hero; Even the most serious attempt of another endless movie SXSW, “It ends up” to re -invent gender wheels. If this person is not vacant after a long period of reaching his destination.
Row: C+
“Hallow Road” was first shown in SXSW 2025. It is currently seeking to distribute the United States.
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