The Call Review

Rated R (Violence, Disturbing Content and Some Language)

Running Time: 1 Hour & 34 Minutes

Cast-

Halle Berry-Jordan Turner

Abigail Breslin-Casey Welson

Morris Chestnut-Officer Paul Phillips

David Otunga-Officer Jake Devans

Michael Eklund-Michael Foster

Michael Imperioli-Alan Denado

Evie Louise Thompson-Leah Templeton

Roma Maffia-Maddy

Denise Dowse-Flora

Justina Machado-Rachel

José Zúñiga-Marco

Ella Rae Peck-Autumn

Directed by Brad Anderson

Halle Berry gets her Nancy Drew on in director Brad Anderson's latest film, "The Call."

Note: Screened on Wednesday, March 13, 2013 at Regal Union Square Stadium 14.

 

Imagine this: Halle Berry…as a 911 operator. Yep, that's the role she plays in her latest film "The Call" directed by Brad Anderson and while I agree that it sounds implausible, it actually pales in comparison to the film's other problems (which I'll get to soon). When Berry won the Academy Award for Best Actress in 2002 for her incredible performance in "Monster's Ball," many were expecting her to be the female Denzel Washington—someone who not only achieved mainstream success but also transcended race as an artist and entertainer. Unfortunately, her post-Oscar career is littered with one terrible film after another and of course, there's 2004's "Catwoman," which is so bad that it belongs in a separate category on its own. It's a real shame because when given the proper script, Berry can work wonders yet she keeps taking on these projects that are, quite frankly, beneath her. When I first saw the trailer for "The Call," I couldn't help thinking, 'So this is what she's been reduced to doing? "Catwoman" and "Dark Tide" weren't bad enough?' Surprisingly, the film does make for a passable thriller, at least in the first hour but it then completely falls apart in the third act, which finds Anderson forsaking suspense in favor of cheap exploitation. 

A veteran 911 operator for the Los Angeles Police Department's dispatch center known as 'The Hive,' Jordan Turner (Halle Berry) receives a disturbing phone call from a teenage girl caught in the midst of a home invasion while working the night shift. Screwing up procedure, the operator hits the redial button when the call is suddenly cut off, resulting in the girl's abduction and later, her death. Distraught, Jordan leaves her post and turns to teaching instead to avoid additional trauma. The girl's murder continues to weigh heavily on her conscience so when one of her trainees encounters a similar abduction six months later, Jordan leaps back into action. Taken from a local mall and stuffed in the trunk of a car, teenager Casey Welson (Abigail Breslin) tries to remain calm while following the former operator's advice, leaving a trail of breadcrumbs for the police to follow as her pre-paid cell phone cannot be tracked by GPS. With time quickly running out and the police no closer to rescuing Casey, Jordan decides to rescue the girl herself when she discovers that the abductor is someone from her past. 

Director Brad Anderson has made his fair share of thrillers over the course of his career, including 2004's excellent "The Machinist" (which starred an anorexic Christian Bale) but his films barely earn more than $2 million at the domestic box office. I can see why he decided to helm "The Call;" not only is the film part of a genre he's familiar with, it also allows for some much-needed mainstream exposure as his last film, 2011's "Vanishing on 7th Street," made only $22,729 from one theater. The first hour of "The Call" is surprisingly good, if not exactly original. Opening with some nice aerial shots of Downtown Los Angeles, the film doesn't spend too much time on developing its characters beyond a few scant details. Quickly establishing Jordan as a seasoned pro at her job, Anderson segues right into the action as a panicked teenager calls for help during a home invasion. Successfully leading the girl away from the intruder (Michael Eklund), Jordan commits a fatal mistake when her emotions get the better of her. Even though the camera is simply just cutting back and forth between the two characters, there's still a palpable sense of tension and danger, with extreme close-ups being utilized to emphasize the fear on the victim's face. Anderson manages to sustain a suspenseful atmosphere throughout the film's second act as Jordan, determined to make up for her past mistake, tries to keep Casey calm while directing her to flag down any passersby. This is where the film is at its most inventive but the cracks begin to show when it veers away from the car chase. In an attempt to inflate the running time, the director resorts to outside interference to complicate the abductor's plans, leading to a number of scenes that will strain your suspension of disbelief. Surely, a man being set on fire can't be that hard to miss. The editing also gets messier as the camera goes into hyperactive mode, frequently pausing during acts of extreme violence. Add in a number of inept police officers led by Jordan's boyfriend Paul (Morris Chestnut), "The Call" just collapses in the last act. Outsmarting the entire LAPD, Jordan finds the abductor's hideout and from then on, the film devolves into a cheesy exploitation flick that over-sexualizes its victim and rips off of "Psycho" and "The Silence of the Lambs." It's such a jarring shift in tone, turning what could've been a passable thriller into a depraved revenge picture. 

Despite being confined to a desk for the majority of the film, Halle Berry manages to deliver a laser-sharp performance as Jordan and captures the emotional toll her job takes. You actually gain a greater appreciation for 911 operators because sometimes, they're your only lifeline. It's too bad that the final scene completely undermines her character. Another standout is Michael Eklund, who exudes creepiness as the abductor. Unfortunately, the rest of the supporting cast is given little to do. Sixteen-year-old Abigail Breslin screams and wails while being cooped up in the trunk of a car. For some inexplicable reason, Anderson deemed it necessary to have her run around with nothing but a bra on during the final act. Morris Chestnut is Jordan's supportive boyfriend who also happens to be a police officer, with WWE wrestler David Otunga as his partner (this being a WWE Studios co-production). Finally, there's Michael Imperioli slumming for a paycheck as a Good Samaritan who meets a gruesome end. 

"The Call" was released on March 15, 2013 to largely negative reviews with 34% on Rotten Tomatoes. Critics agreed that the film 'builds plenty of suspense before taking a problematic turn in the third act.' The advance screening that took place this past Wednesday was not an enjoyable experience. The audience behaved like a bunch of wild hyenas, whooping and shouting at the screen. It honestly made my blood boil and I really wish the theaters would institute some sort of policy to ban these types of people. Films should only be watched by those who can appreciate them, not by those who can't keep their mouths shut…but I digress. Moving back to the topic at hand, "The Call" should be fine with a $10 million debut at the box office, considering its low-budget roots. Despite its silly premise, Brad Anderson's film does manage to wring out some suspense and tension but then he completely sabotages himself with a third act that resorts to cheap exploitation tricks. Maybe the sequel about 311 operators will fare better.

Final Rating: 2.5 out of 5

"You're just an operator. What are you going to do?"