The Call is a claustrophobic thriller that simultaneously disbands
the tropes of the genre whilst mending together the fragments of Halle Berry’s crumbling
credence as a noteworthy actress. Director Brad Anderson knows what it takes to
helm a psychological examination into human neuroses and instinct (Session 9, The Machinist), so his latest
feature couldn’t be in more capable hands.
Berry plays Jordan – a seasoned 911
operator for the LA police racked with guilt over the mistake she made that led
to the murder of a young girl. Months and a promotion later, Jordan had all but
put down the headset for good when she is presented with a chance at redemption
in the form of the abducted Casey (Abigail Breslin), who is making the
emergency call from the car boot of a serial killer.
Halle Berry on the job as Jordan |
What you see is largely
irrelevant; mostly police procedure reminiscent of any number of crime titles.
What you hear, however, is more visceral and torturous than anything the image
of corn syrup-covered prosthetics can believably convey. Utilising modern
telecommunications as a plot device with more mastery than Larry Cohen (Phone Booth, Cellular), writer Richard
D’Ovidio intermittently intertwines the measured poignancy of emotional drama with
the increasing tension of the situation, building an engaging relationship
between the collaborating protagonists.
It’s only when Jordan ignores
protocol, going above and beyond the call of duty that it becomes apparent
that, somehow, even without the tight-fitting outfit and superpowers, Berry has
managed to end up in yet another trashy superhero movie. Jordan abandons her
post, singlehandedly locating the maniac’s lair and freeing Casey. The damsel
in distress then becomes Jordan’s sidekick and the pair dish out
vigilante-style justice on The Call’s textbook Hollywood psychopath, Michael
(Michael Eklund). Clearly, the urge to add a no holds barred stipulation to
proceedings was too much to resist for the film’s producers, WWE Studios.
Rating: 2.75/5