Maddie (Rosamund Pike) and Frank (Matthew Rhys) are jolted awake at 2am by a phone call from their daughter, Alice, who is in a state of tearful panic. As Maddie attempts to calm her and piece together the situation, Frank spirals into a panic of his own. They eventually discover that Alice has taken Frank's car without permission and headed to a familiar forest to get high - seeking an escape from their judgement regarding her pregnancy with her Czech boyfriend.
While under the influence, Alice reveals she has struck a girl her own age, crashing the car into a ditch. It transpires that Maddie possesses paramedic skills and is experienced in handling high-pressure medical emergencies. The couple leaps into Maddie’s car for what should be a 40-minute drive to the forest. En route, Maddie talks Alice through CPR after Alice claims the victim is dead. The attempt fails; a sickening ‘crack’ is heard, leading us to conclude that Alice has broken the girl’s ribs.
To prevent Alice’s arrest and protect her future - ambitions largely driven by the parents - they concoct a plan to ensure she isn't ‘caught’. They continue the journey, offering supportive dialogue over the phone. However, just as a plan is solidified, an interfering woman and her husband stumble upon the scene. They refuse to leave Alice alone and eventually begin to deduce what has happened - all of which is broadcast to the travelling parents via the open phone line.
Throughout the ordeal, no one calls the police or an ambulance. Instead, they decide it is better to handle the situation themselves by moving the body into the woods. That's all the setup you need really - perhaps even too much! As expected, not everything is as it seems and the film offers several twists and turns to keep the audience guessing - compounded by the presence of drugs and the suggestion of something supernatural. We learn that Hallow Road is a site of ancient pagan worship, hinting that something enchanted may be at play.
The film creates edge-of-the-seat tension, trapping the audience in the car with the frantic parents. It is a poignant exploration of parenting and the lengths to which people will go to protect their children - or prevent them from repeating the mistakes of their own pasts. The car serves as a metaphor for the family’s emotional entrapment within their own dynamics.
Though set in the South East of England, the film was a joint production shot in Irish locations and Czech studios. The music is a standout feature, involving Lorne Balfe (a protégé of Hans Zimmer known for Mission: Impossible – Dead Reckoning and The Crown) and Peter Adams. The score is a superb blend of orchestral movements and ghostly choral sounds.
The cinematography is equally wonderful; Kit Fraser frequently employs extreme close-ups for maximum psychological impact. The two central performances are engaging and beautifully executed, particularly by Pike. Her talent shines convincingly as the tension rises, with panic and anxiety wrung from her voice and expressions. At a concise 80 minutes, the film flies by. It comes highly recommended - see how you interpret the events and outcomes!
No comments:
Post a Comment