OBSERVER: Rourke’s Reviews
Night Call
(MA). 97 minutes. Available to rent or buy on selected digital platforms.
Similar to films such as Sleepless Night, REC and MADs, Night Call is a taut French/Belgian thriller that, like a couple of the films mentioned, will most likely go down the Hollywood remake route.
Beginning quietly, the story, set in Brussels, centres on Mady (Jonathan Feltre), a young black man who works long, unusual hours as a locksmith.
One evening, Mady receives a phone call from Claire (Natacha Krief), who has accidentally locked herself out of her flat.
Helping Claire out, Mady waits for his client to get the money to pay him, but things go down a very different path, which will have the terrified locksmith trying to stay one step ahead of other parties to survive.
The premise is simple, but co-writer/director Michiel Blanchart (making his directorial debut) uses the basic, even familiar, set-up to send his main character on a dark journey, surrounded by a huge Black Lives Matter protest that he feels doesn’t have anything to do with him at first, but by the end, will have a much more personal connection to him.
Like a number of visceral thrillers, this requires a certain level of suspension of belief for everything to work, but Blanchart shows incredible confidence in making sure these implausibilities can be overlooked, drawing us in to Mady’s precarious situation skilfully and with a lot of energy.
Special praise must also go to cinematographer Sylvestre Vannoorenberghe and editor Matthieu Jamet-Louis, who help make everything vivid and immediate.
Feltre is perfect as Mady, who allows the viewer to engage with what’s going on, and care about his character’s outcome.
Krief is fine as Claire, as is Jonas Bloquet as Theo, and Romain Duris (who played Aramis in the excellent, two-part Three Musketeers films) as the intimidating Yannick.
Night Call is very entertaining stuff, made by a film-maker who cleverly threads his messages into the scenario, rather than bogging everything down by hitting you over the head with them.
Like I said, keep an eye out for the inevitable remake, but make sure you watch the original first. and escalates in expert fashion.
RATING – ****
Companion
n (MA). 97 minutes. Now showing in selected cinemas.
With recent films like Afraid and Subservience failing to effectively explore the dangers of ever-evolving technology, Companion comes as a nice surprise, successfully getting its messages across while also entertaining, particularly through a smart sense of humour and good performances.
Sophie Thatcher (who co-starred in the recent, excellent thriller Heretic) plays Iris, an old-fashioned young woman who is totally devoted to her boyfriend Josh (Jack Quaid, son of Meg Ryan and Dennis Quaid), who seems to appreciate her commitment to their relationship.
The two drive to a remote, luxury house for a relaxing getaway with friends; Kat (Megan Suri), Eli (Harvey Guillen), his partner Patrick (Lukas Gage), and Kat’s Russian (and married) boyfriend Sergey (Rupert Friend), who owns the house they are staying at.
Once settled in, the group enjoy their surroundings, but things turn sour after a sudden, unexpected confrontation, one that will affect Iris in particular.
The less an audience knows going in, the better, even though the advertising has spoiled some of its twists.
Even if you know what the main twist is (the opening scene certainly references a 70s favourite), it shouldn’t dampen the film’s entertainment value.
Despite its themes being largely told instead of shown, debutant writer/director Drew Hancock establishes his premise well enough to build on, and by using comedy more than horror, does tap into a mindset that is increasing in uncomfortable fashion, in regards to how men view women, with an ingrained sense of control that has lead to worrying levels of misogyny. Performances range from good to strong, with Thatcher the standout, giving her character a depth and humanity that allows us to fully engage in her plight.
Quaid does well with his role, while Guillen, Suri and Gage all approach the material with suitable conviction.
Technically the film is well-crafted, belying its very modest budget.
While it never really reaches its full potential, Companion is a welcome addition to a sub-genre that has proven mostly disappointing in recent years, and will hopefully find a following, which it does deserve.
You could see it as the genre alternative to Barbie.
RATING – ****
Aaron Rourke