The Call Reviews

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Super Reviewer
March 2, 2014
I stopped watching on the first ten minutes when the 911 operator tells the girl to lock herself in a room and then the girl runs up the stairs. >_> I do not know which is worse, the advice or the girl.
Nate Z.
Super Reviewer
½ October 16, 2013
A surprise hit last spring, The Call is a simple but rather effective thriller that wavers a bit in the end but not enough to derail your entertainment. Halle Berry stars as a 911 operator talking through a teen girl (Abigail Breslin, spending far too much time in a bra for my comfort) kidnapped in the trunk of a car. It has the hallmarks of the typical action thriller genre, namely our heroine working through her past trauma of inadvertently getting another young girl abducted by the SAME killer. The Call plays best as we think alongside our two embattled heroines, going step-by-step how to determine where she may be, what car she may be inside, and how to draw attention to her predicament. The writing is economical and fast-paced and mostly smart, having the police act like actual professionals. Director Brad Anderson (Session 9, The Machinist) employs plenty of extreme close-ups that effectively draw upon the claustrophobia and urgency. For a solid two acts, the movie seamlessly transitions form one obstacle to another. Then the third act arrives where Berry decides to leave her post and take matters into her own hands. The film becomes far more predictable, conventional, and veers into the absurdity it had avoided for so long. The creepy killer has a half-hearted creepy back-story/fetish, Berry behaves far too cavalierly when she should be notifying the cops, and the ending defies all sensible logic. It's meant to be a poetic punishment but, upon minor reflection, it's entirely possible that this loose end will come back to haunt everyone yet again. In total, The Call is a breezy, suspenseful thriller that is well-acted and directed with style (the pounding electronica score doesn't fit, though). The downturn at the end is disappointing but The Call is still a movie worth taking.

Nate's Grade: B
Super Reviewer
September 9, 2013
Enjoyable bum on the edge of seat thriller!
Greatly acted, slightly predictable but surprising ending, enjoyable and worth a watch!
Super Reviewer
July 28, 2013
Brad Anderson's The Call runs out of battery by the end.With a story just under 90 minutes, the film moves at a consistently solid pace. It's the writing and the plot details that fizzle away as the minutes pass. The film delivers its thrills through the first and second act, along with the help of an amusing story concept. Unfortunately, the final act never lives up to the rest, leading to a dissatisfying conclusion.For a picture sporting an R-rating, The Call comes across as mild; however, the violence, blood content, and language is enough for an R-rating, but not by much.Halle Berry and Abigail Breslin carry this film from beginning to end, with Breslin doing an excellent job as an abducted teenager. Michael Eklund puts on the crazy as the antagonist.As a crime thriller, The Call fits the bill, thus making it a watchable 90 minutes.
Super Reviewer
½ July 20, 2013
A conventional thriller that does not try anything new but develops in a relatively satisfying way for the most part - until it collapses in a ridiculous, laughable third act that only insults the viewers' intelligence and believes to be much smarter than it is.
Super Reviewer
½ July 18, 2013
The Call is a solidly suspenseful movie with decent acting and an intriguing plot, but the third act is an absolute mess and almost destroys all of the goodwill built up until that point. Whoever wrote that part of the screenplay should have been fired on the spot after someone read it. The actions of the characters during the final minutes of the movie are sadistic and not remotely like how the characters are built in the movie up to that point. I was just completely shocked by their actions. Michael Eklund does make an effectively creepy kidnapper and the movie does a good job of keeping the pace up when it needs to. If it was re-written with a new third act, this would be a recommendable movie. Based on what is on screen though, it will keep your attention and infuriate you by the end. It's not a bad movie, just one that had more potential than what is on screen.
Super Reviewer
April 15, 2013
There are 188 million 911 calls a year. This one made it personal.

Nice Thriller! I enjoyed this film quite a bit: it kept a good pace of tension which makes for a good thriller. The acting is good, and it did a good job of giving a glimpse into the operations of 911 call centers which is a fresh topic and it did so without dragging the pace. The weak spots consist mainly of some CSI style technology leaps that only technology morons would buy into, and a single bit of clumsiness that just feels scripted. Unfortunately the CSI technology leaps are very popular in Hollywood and the bit of clumsiness is key to the plot progression. Wait for it to show up on Netflix. If you enjoy a good edge of your seat thriller and can overlook the transgressions, go see it!

Jordan Turner (Halle Berry) is an experienced 911 operator but when she makes an error in judgment and a call ends badly, Jordan is rattled and unsure if she can continue. But then teenager Casey Welson (Abigail Breslin) is abducted in the back of a man's car and calls 911. And Jordan is the one called upon to use all of her experience, insights and quick thinking to help Casey escape, and not just to save Casey, but to make sure the man is brought to justice.
Super Reviewer
June 29, 2013
The Call is a surprising thriller with a tense performance by Halle Berry. Directed by Brad Anderson, director of The Machinist, this is an exciting and thrilling movie that is a bit underrated. Although nothing great, The Call is a well executed thriller that relies on traditional elements to grab your attention. With that being said, there are elements in the film that work well enough, but others that could definitely been improved upon. Halle Berry gives the movie its strength and despite the clichés that pop up here and there, this is an effective thriller that is worth checking out if you enjoy the genre. Anderson has made an effective thriller with a good cast. Although it fumbles in a few spots, I really enjoyed the film, and another performance that does stand out is that of Michael Eklund who is chilling as the film's antagonist. If you want a pleasant, edge of your seat thriller, then The Call is for you. The movie is not great, but is better than what most people have said about it. I really didn't expect much with this one, but I was pleasantly surprised at how much I enjoyed it. Although it doesn't cover new ground in the genre, the cast do a fine job in their roles and the script is entertaining enough to make you want to see this. The Call isn't original by any means, but it is a movie that has stuck to a proven formula and runs with it to create an hour and thirty minutes of tense, well acted storytelling. Go into this one with an open mind, it may surprise you at how good it really is even it's nothing new.
Super Reviewer
June 25, 2013
The first act of "The Call" is fantastic and it makes you believe that cliches will be all out the window for the duration of this film. Once the second act of the film kicks in, you are almost ensured that you are in for a suspenseful and climatic ride. As soon as the third act get's into gear, every cliche in the book is used and the movie begins to collapse left and right and totally lost my interest. I must give the film props for being able to set up an overused story with originality, but in the end, it wasn't enough to save the entire film. The cast is very solid and the dialogue is good enough for what it is. But when I talk about this film to people, all I will say in conclusion is be ready for what comes in the third act. It's strong enough as a movie on it's own, but ending ruins the film. I will give credit where credit is do, but this film is such a letdown.
Super Reviewer
½ June 17, 2013
I'd thought it'd be something different & interesting, but it turned out to be just another thriller having hardly anything worthwhile. The run-time of the movie does work out in its favor, though.
Super Reviewer
June 17, 2013
4 stars!!
Super Reviewer
½ March 25, 2013
Here's another generic thriller that isn't really anything fresh, but it's still entertaining. Halle Berry stars as a 911 operator who gets a call from a kidnapped girl(Abigail Breslin), and she tries to save her. There's a few good scenes, but it's one of those "seen it all before" type of movies. Berry does good, and Breslin is fine even though she spends most of the movie in a trunk just freaking out. I watched this at home, but I have a feeling this would play better in the theater as a "date movie", full of people. It has a good run time of around 90 minutes, and when it starts to feel long, it wraps it up. I didn't really care for the way the movie ended. The last 15 minutes didn't make a whole lot of sense, and felt like a different movie from the rest of it. Still, it's ok, worth a watch, but not much more than that.
Super Reviewer
March 22, 2013
Surprisingly passable...then the third act begins.
Super Reviewer
½ August 14, 2013
Intense and fast-paced, The Call is an edgy thriller. The story follows a 911 operator who receives a call from a young girl who's been kidnapped, and has to help her discover where she's being held and get her rescued. Halle Berry and Abigail Breslin lead the cast, and Breslin gives an especially powerful performances. However, the film loses momentum after a while and becomes fairly predictable. Additionally, there are some issues with the tone, as the ending turns rather dark and becomes a different kind of film. The Call has a few thrills, but it's too inconsistent and lacks a clear focus.
Super Reviewer
April 7, 2013
Sometimes a filmmaking challenge is enough to sustain my interest. How to you make a film exciting which takes place almost entirely in confined spaces? CUJO, BURIED, and PHONE BOOTH are examples of these contained thrillers. THE CALL joins this list, and most of the time, it works really well. Halle Berry is Jordan, a 911 Operator, who takes a call from a kidnapped girl (LITTLE MISS SUNSHINE herself, Abigail Breslin), and tries desperately to save her while redeeming a past mistake. This is pretty cookie cutter stuff here, but director Brad Anderson knows how to keep things moving.

In lesser hands, we would have grown bored right away, because the large majority of this film shows us two people talking on a phone. Anderson, however, ratchets up the tension, aided by a lean, mean script by Richard D'Ovidio , and managed to keep me on the edge of my seat through most of it. Things do run off the rails in the last act, where Halle Berry manages to ignore ALL of her considerable training and become the person audiences are guaranteed to scream such things as, "Don't go in there!" and "Girl!!!".

Additionally, there are a few too many loose ends (seriously with the inability to track the call?) and shoddy police work (if only the cops had looked around a little bit more), and I could have done without Anderson's annoying habit of freeze frames right before something excessively violent was about to happen. The editing is crisp and there isn't one ounce of fat in the film. It hits GO and GOES! Berry is appropriately tense and Breslin proves scrappy, but poor Michael Imperioli is not going to let this topple THE SOPRANOS on his resume. A big shout out to my friend, Rakefet Abergel, who shows up briefly as a fellow operator. WTG Girl!

All in all, THE CALL plays out like an exciting series pilot. Imagine if Clarice Starling from SILENCE OF THE LAMBS could solve crimes using a headset and a good GPS, et voila! It's not terribly deep or original, but it does the job.
Super Reviewer
April 4, 2013
The Call is a waste of time and money and reveals the old theory that new ideas are rare in Hollywood. I really tried to enjoy this film due to its interesting concept and Halle Berry, but the concept doesn't bring anything new to the table and Berry's performance is mediocre at best. I don't see why this Oscar winning actress levels herself down to a film like this, but she would not be the first one to do this. I enjoy thrillers that change the game, try new stuff that make us leave the theater and say "wow I did not see that coming." It might be perhaps because I have very high standards for films or didn't give this film enough of a chance, but when I watched this I just didn't find this quest for redemption through a phone call all that interesting. It reaches some great moments during the opening of the film, but the film slowly goes downhill from there as it plays out as predictable and slow as possible. We know how the film will turn out and the script doesn't make any attempt to twist or surprise the audience, so you pretty much get what you expect and nothing more. This was just another movie that will be forgotten within a day and won't be remembered as anything more other than a way to kill an hour and a half. Overall, don't come into this film expecting something great, but if you enjoy mindless and predictable entertainment than please be my guest.

The story follows a LAPD 9-1-1 phone operator (Halle Berry) who seeks out vengeance for the murder of a young girl after she accidentally causes her death by calling her phone and alerting the intruder in her home. When the same intruder kidnaps another girl (Abigail Breslin) she gets into action and tries to redeem herself by saving this girl.

The plot of the film is a very long description of what to do if you are a female who is kidnapped by a crazy guy, and it doesn't work. I like the idea of somebody being shown how to escape a psychopath but it really just didn't all add up on the screen. Mainly because the characters don't matter and we never really grow to care about any of them. We are given some innocent and cliché girl near the beginning of the film (played by Breslin) who is sweet and very sympathetic to many audience members, and she also has a friend with her is a bit of a handful to say the least. Than within a few minutes of introducing this character she is kidnapped and we are instantly supposed to root for her and actually care about her, and personally for me I need a little more than some boring characteristics and 3 minutes of screen time to care about who she is. Now the 9-1-1 operator must save her and that is the overall point of the film. I do not criticize the film for this but I just wish we had been given more and I felt that it just didn't deliver. Berry's character is somewhat likable but that is mainly because Berry is such a good actress, which makes me question why she chose such an odd character with her great talents. I couldn't stand the villain of the film, who was nothing more than a prime example of how a villain should not be written in a film. He was just crazy and had no other characteristics or goals that made me care about who he was or what he's done. I will admit this script provides some tense and exciting moments, but it's an overall lazy script that felt like it should've been a short film other than a full feature.

The cast has some very good talent that I believe was the main reason this received any buzz, and they can thank Berry for providing enough talent for a lazy film. Halle Berry gives an emotional performance from an imperfect character, and although she is hidden beneath a boring script I could see that she is still giving it her all in this film. At the beginning of the film I could see some brilliant acting as she looks at the horrors of her own failure, and it really impressed me that she could do so much with so little to work with. This is nothing award worthy, but it still shows me she is a brilliant actress who should not level herself to films like this. Abigail Breslin screams and cries for about 90% of this film, so it was very difficult to rate her performance since she in the trunk of a car for a long period of time. I cannot see why they needed her in the film, I mean they could've gotten any random girl off the street but instead they said "no we need to get Abigail Breslin for this." I just felt like she provided very little to a very boring character. Morris Chestnut wasn't bad, but he really didn't do much that helped enhance the movie or make it memorable. He is establishing himself as a very forgettable actor. Michael Eklund may be a good actor hidden behind a very stupid character, I mean I just couldn't believe how cliché and sad the writers must've been to give pretty much the exact same kidnapper from "Taken." Overall a pretty dull cast with the exception of Berry who is the main reason I, and others, saw this flick.

The Call isn't a movie we can enjoy or talk about, it's just a film that will be forgotten within a few months and will fall into the long history of forgotten films. It's very difficult to review a movie like this because there really is very little to talk about because the film doesn't do anything new that we haven't seen before. Without a doubt many audience members will love the film because they have very low standards and don't care that the film is predictable, but I just have high standards that must be met with a film like this. Director Brad Anderson might know what it takes to make a good thriller, but the script confines him from making any big strides and it makes his direction feel like something I could find on an episode of NCIS. I expect to be amazed when I go to the movies, but this feels just like something we could find on NBC every week. New ideas are something I love to see, and sadly we rarely see this anymore and I am forced to sit through films like this that waste my time and only entertain me every 30 minutes. It low-budget might have been the cause of this, or maybe the lack of good writers, but whatever the problem was it just didn't work well on screen. I can assure you this is not one of the worst film I have seen this year, but I will recommend that you stay away unless you want to have your money wasted.

Super Reviewer
½ February 20, 2013
When it was announced that WWE was staring a film company, like most, I thought it was a joke. After some success with films like the Marine and 12 Rounds, the company earned some legitimacy and with it comes bigger talent and better Directors. The Call is the first WWE film that doesn't star a wrestler, and it was every bit as good as any Hollywood thriller that was released last year. Halle Berry stars as a 911 operator, whose worse nightmare is realized, when a kidnapping victim calls in from the trunk of a serial killers car. From there, the Call becomes 90 minutes of pure, non-stop intensity. It's hard to imagine a film that features a girl in a trunk and a woman in a call center, being as entertaining as it was, but that's where the experienced Hollywood talent comes into play. Halle Berry is not someone I consider to be a terrific actress, but she surprised me, by playing a character who had to overcome emotion and think on her feet. It quickly becomes evident that going by the book will lead to this girls death, and the operator comes up with some pretty novel ideas about how to deal with the situation. The supporting cast, which does feature an active WWE superstar, is also very good in assisting with the statewide manhunt. This film was really on pace to be one of my favorite films of the year until the ending. It was very strange, but the film gets to a certain point and then just ends. There may not have been much more of the story to tell, but the way it ended made me feel like I left the theater a few minutes early to answer an important phone call or something. It maybe a small thing to some, but to me, it really took a lot away from an otherwise terrific film. The Call is not that original, outside of the particular situation, it's a type of film you've seen many times over. It is however intense, fast paced, very entertaining, and most definitely worth the price of admission.
Super Reviewer
March 6, 2014
Halle Berry and Abigail Breslin's performances make this film worth watching. They shine here. They have a great on screen chemistry despite the fact that the majority of time they are not on screen together. This is the 2nd film that they are in together. The first, being New Year's Eve.

The film itself is predictable. I felt like I have seen this type of film before. It reminded me of movies like Cellular, Phone Booth, Taken, Taking of Pelham 1 2 3, and Silence of the Lambs. The scene in the beginning where the killer grabs the girl under the bed, reminded me of the scene in Taken. Also the big finale at the end, reminded me of the finale of Silence of the Lambs.

Morris Chestnut does a great job in his supporting role. Roma Maffia is great as Berry's boss. I am surprised that Michael Imperioli took the role he played in this film.

I say, despite the predictability, the film is worth checking out cause of Berry and Breslin.
Cameron W. Johnson
Super Reviewer
August 2, 2013
Well, "Fringe" is finally over, so I reckon it's time for Jasika Nicole to find some new work, though it might be a bit too soon for a lead role. Oh no, wait, this isn't Jasika Nicole, it's just Halle Berry with Nicole's trademark hairdo, you know, because the bob cut didn't make her look like a lesbian enough. Seriously though, if nothing else kept me on the edge of my seat throughout this film, it was the anticipation for a scene in which Halle Berry walks into a lab and John Noble pops up from out of nowhere talking about some paranormal science junk and making me say, "Man, I really wish that I didn't fall out of 'Fringe'", and it didn't help that the profession of Berry's Jordan Turner character in this film is about as forgettable as the lab assistant profession that Nicole's Astrid Farnsworth character had on "Fringe". Now, I'm not saying that the film industry is running out of ideas for unique police procedural thrillers, but this is a thriller about a 911 phone operator, which, of course, screams, "Incredibly interesting", probably while into the phone while it's being kidnapped. No, I'm sure that there's plenty of exciting material to the job of a 911 operator, partially because Berry has such a good track record with selecting thoroughly gripping thrillers like "Swordfish", "Gothika", "Perfect Stranger", "Dark Tide" and, of course, the most terrifying one of them all, "Movie 43". Ouch, it's still too soon to make jokes about that disaster, which isn't to say that that's the only reason why I should cut the sarcasm, because no one is going to get the joke, seeing as how the thrillers that I just listed off have either been forgotten by now or weren't seen by anyone. You can, of course, imagine my concern regarding this film, seeing as how director Brad Anderson knows a thing or to about making thrillers that no one sees, except his thrillers tend to actually deserve to be seen, much like this thriller, because with all of my joking, this flick is a pleasant surprise, though doesn't exactly come without its share of issues.

Needless to say, there are plenty of refreshing areas in this film's plot, and if there isn't, on the whole, storytelling is too inspired for you to mind the conventionalism all that much, but there's no ever truly ignoring the tropes hit by this film, which goes so far as to flaunt a trite score by John Debney that is generally decent on a musical level, and often played with in a fashion that brings its effectiveness more to the forefront than its genericism, but is just as often reflective of a kind of glaring laziness to this film's writing in terms of uniqueness, though not as much as some clichés, many of which can be found within key areas in plotting that cannot afford to get too familiar. In certain areas, the film is kind of predictable, and that's a little bit frustrating, because this film is so sharp in so many areas of its storytelling that you would think that writer Richard D'Ovidio would be more careful with his plot structuring, especially considering that there are points in plot structuring in which D'Ovidio gets to be a bit too careful with his attention to detail. By this, I mean that D'Ovidio gets carried away with his trying to run out the clock on this minimalist thriller, for although the exhaustive attention to detail when it comes to unraveling this intricate plot is generally organic and helps greatly in reinforcing compellingness, after a while, things get to be more repetitious than they should be, leaving the drama to drag out past the point where it can secure your full investment through the challenges to your patience. Like I said, it's not too difficult to see where this plot is going, but as irony would have it, after a while, plotting goes on for too long for you to see the end, no matter how brisk the pacing is, though I can't say that I'm completely upset with D'Ovidio for overdoing the padding, because subject matter this minimalist is going to need plenty of padding if it hopes to achieve a, for it, hefty runtime of 94 minutes. I have just named off only so many issues with the film, and in a moment I will be praising key strengths to no end, so for all extents and purposes, the final product is outstanding, but something goes seriously wrong, and it can be found as far back as, not just the script writing stage, but the story building stage of the film, because the biggest shortcomings to this effort are natural ones, spawned from a certain subject matter simplicity that opens only so many doors for high compellingness, most of which are filled, but only as much as they can be before the wake to emotional strength is retarded by questionable storytelling areas that can never be fully washed away. In plenty of places, the film is incredibly well-done, so much so that it, with its inspired acting and direction, could have relatively easily been, not simply rewarding, but strong, perhaps even excellent, but in the end, the thriller's subject matter is just too minimalist for storytelling this powerful, and if that doesn't water down your appreciation in what is done so very well enough, the aforementioned consequential shortcomings firmly remind you of the natural shortcomings and secure the final product as short of what it wants to be and could have been. Nevertheless, what the final product ultimately is is worthwhile, maybe not to where the film is as strong as its strongest moments, but certainly to where I found myself engaged time and again, even when looking at the basic story concept.

Again, the biggest issue with the film is its story, which is not simply a bit predictable or padded out, but paper-thin in scope, so no matter how good storytelling is, the effectiveness of this story can only go so far, which isn't to say that you should make the serious mistake of thinking that this subject matter is cleansed of relatively high compellingness, even on paper, as there is still enough weight to this story concept for thorough engagement value to be a possibility, and one that is brought more to the light by what is done right in Richard D'Ovidio's script, which is bloated with both conventions and excess material, sure, but intelligent, with remarkably consistent plausibility, as well as many a moment in which an extensive attention to detail goes a long way in pumping up intrigue and, of course, fleshing out the characters. Giving only so much background information on our characters before diving right into fast-pace thrills, this character drama could have easily slipped up as undercooked, but the care that D'Ovidio puts into characterization bonds you with the human forces who drive this drama and are truly brought to life by something I was not expecting to be as strong - nay - outstanding at it is: the acting, or at least that of our leads, with Michael Eklund being fearlessly transformative as the film's disturbed kidnapper antagonist, who Eklund portrays with a piercing subtlety, broken up by terrifying intensity, while a young and, well, admittedly really prettying up Abigail Breslin proves to be revelatory, capturing the overwhelming fear and uncertainty of the kidnapped Casey Welson character with an exhaustingly crushing emotional power that may not be layered enough for Breslin to be all that great, but breaks your heart. These two supporting talents are truly outstanding, but really, if good acting is what you're looking for, then the reason to see this film is Halle Berry, who we've come to forget is exceptionally talented when she wants to be, and who makes good and sure that you remember with her commitment to the role of Jordan Turner that sells you on the sharpness of our lead as a veteran in her field, while a penetrating dramatic range and deeply human atmosphere truly bring out the depths in Turner, a traumatized woman who returns to a place she had abandoned out of guilt in hopes of doing what she wasn't able to do once before: save an innocent life. Outside of our heroine, this dramatic thriller is built around the kidnapped and the kidnapper, whose portrayers are also remarkable, yet if you were somehow able to disregard Eklund and Breslin, you'll find that Berry carries the film with a great performance, something that is all too rarely seen in the first quarter of the year, so if this film has nothing else going for it, it's really, really good acting. However, what can make or break a film built around dramatic subject matter this minimalist is, of course, storytelling, and let me tell you, while it's all but impossible to obscure the film's shortcomings, director Brad Anderson delivers about as much as he can, on style alone, capturing the thriller's freneticism with snappy plays with Avi Youabian's sharp editing and highlights in John Debney's generally generic score, which is not the only audio aspect to the film that Anderson celebrates cleverly, playing up thumping sound editing in order to immerse you into the environment, as surely as he plays up airtight framing in order to capture the intimacy and, in some cases, claustrophobia of the thriller. Stylistically, the Anderson excels as director, and that does a lot to drive both entertainment value and intensity, but what truly brings this film to life is a thoughtfulness to Anderson's storytelling that is not seen as often as it should be in thrillers of this type, and breathes enough life into the film's dramatic heart to compel you on a human level, and sometimes resonates. Anderson's direction is too held back by the minimalism to the film's subject matter to be all that great, but it's still pretty outstanding, and while Anderson can only give you glimpses of an excellent film, he never lets the final product decent into underwhelmingness, joining decent writing and outstanding acting in compelling you about as much as you can be.

When the line is finally cut, some predictability, - spawned through conventions - some dragging and, worst of all, way too much simplicity to the story concept leave the final product to fall short of what it could have been, but through intelligent and well-rounded writing by Richard D'Ovidio, outstanding performances by Michael Eklund, Abigail Breslin and Halle Berry, and stylishly intense and thoughtfully heartfelt direction by Brad Anderson, "The Call" is left standing as, not too strong, but pretty rewarding, with certain aspects that go well beyond expectations.

3/5 - Good
Super Reviewer
½ July 5, 2013
I enjoyed The Call a lot. I wasn't expecting much from it, but it turned out to be very suspenseful and kept me on the edge of my seat almost the whole time. The second act of the film was my favorite, where there was this one, long car chase. After that, the movie kind of falls flat and a lot of clichés start to kick in, but all and all, I think The Call is a very underrated thriller, and better than the ones you see today.
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