Despite releasing some solid sci-fi and horror films, Empire Pictures was facing financial problems and were fearing bankruptcy. Many of their films were either breaking even or losing money, and they were overspending hoping to find a hit. During this time, they were experimenting with different genres, including action with Enemy Territory and comedy with The Princess Academy. Michael Sloan, best known for creating the popular TV series The Equalizer, wrote a screenplay that revolved around two characters. Frank Yablans, who had a working relationship with Charles Band, brought the script to him and he saw potential. Arthur Allan Seidelman, who worked on shows like Hill Street Blues and Murder, She Wrote, was hired to direct. He happily took the challenge of making a film with only two characters and one main set. Originally released in 1987 at Cannes, The Caller wasn’t released in the US until 1989.
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Rating
Synopsis
A young woman (Madolyn Smith) is living alone at a cabin in the woods waiting for someone to arrive. One night, a mysterious stranger known only as ‘the Caller’ (Malcolm McDowell) arrives asking for help after his car crashes. She invites him inside to contact a tow truck, but she becomes suspicious of his intentions almost right away. Over the next few days, the two keep running into each other and engage in a battle of wits. He accuses her of murdering her husband and daughter, while she thinks he wants to torture and kill her. As he keeps asking her questions, she reveals more about her past, including her daughter Allison and her dead husband. Soon, she starts plotting to kill him and put an end to his games once and for all. It all culminates in a finale that you won’t see coming.
Review
Compared to Re-Animator, Trancers, and Ghoulies, The Caller is an atypical film by Empire standards, but that’s a good thing. This film plays as more of a straight psychological thriller that’s surprisingly sophisticated and keeps you guessing throughout. Malcolm McDowell gives a great performance as always, coming off as charming while also having a dark side to him. Madolyn Smith also gives a solid performance, balancing off of McDowell really well and showing plenty of emotional range. Given that they’re the only actors in the film, they carry the film and have great back-and-forths throughout. Seidelman’s direction is fantastic, taking full advantage of the single set and using fluid camerawork to keep the visuals interesting. Some scenes take place near an auto shop and on a hilltop, but it’s mostly just the cabin set. It’s a challenge that Seidelman managed to tackle effectively.
At slightly over 90 minutes long, the film manages to maintain a sense of tension and dread throughout the runtime. Even in scenes where nothing is happening, you get the sense that anything could happen at any moment. This is also a film that doesn’t give the audience a lot of information, which can be frustrating. Without giving away the ending, let’s just say that you’ll have more questions than answers before the movie’s over. Effects maestro John Carl Buechler contributed some effects to the film, and they look fantastic as per usual. Unfortunately, I can’t say what effects work he did on the film without giving away the big twist. If you consider yourself a Charles Band fan and have seen all the well-known movies, you should consider watching this. Overall, The Caller is an effective thriller with two great performances and a strong story.
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