7500 (2019)
Directed by Patrick Vollrath
When terrorists try to seize control of a Berlin-Paris flight, a soft-spoken young American co-pilot struggles to save the lives of the passengers and crew while forging a surprising connection with one of the hijackers.
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4 films that influenced 7500
What critics say influenced 7500
Alfred Hitchcock set the standard for setting entire films in a single locale with such classics as Rope , Lifeboat , Dial M for Murder and Rear Window (66 years old; still the best of the sub-genre) and his spirit is duly channelled by writer/director Patrick Vollrath in a knockout feature debut.
Vollrath operates under the same theory here in a movie that upholds the legacy of predecessors such as Hitchcock's "Lifeboat" and "Rope."
7500--Many thrillers are called Hitchcockian, but this German/Austrian/US production truly qualifies; after the opening minutes, it unfolds both in real time like Rope, and in a confined space like Lifeboat.
A little like Tom Hardy in Locke (a terrific movie) or Ryan Reynolds in Buried (not so terrific), 7500 is largely a one-man show.
Two of the more impressive examples of the latter we've seen in recent years include the 2010 Ryan Reynolds' feature Buried and Tom Hardy's 2014 Locke, films in which the performers are the only ones seen on screen for the entire running time.
Most man-in-a-can movies wear out their premise quickly–a malaise that affected the Ryan Reynolds vehicle Buried (about a man buried alive in a coffin), as much as Joel Schumacher’s Phone Booth (about a man trapped in a comparatively nicer cage).
Like Steven Knight’s Locke or Rodrigo Cortés’s Buried , Vollrath fully explores the possibilities of this single location, trapping the audience in a confined space from which the wider drama plays out.
Like other star-driven, single-location thrillers like Phone Booth, Buried, or Locke, one of the finest examples of the genre , the movie makes an implicit promise to the viewer: you're not going anywhere.
“7500” – which is an aviation transporter code for a hijacking – is a combination of “Buried” (2010), “Captain Phillips” (2013), and “United 93” (2006), and this public invasion in the sky also feels personal.
A little like Tom Hardy in Locke (a terrific movie) or Ryan Reynolds in Buried (not so terrific), 7500 is largely a one-man show.
Two of the more impressive examples of the latter we've seen in recent years include the 2010 Ryan Reynolds' feature Buried and Tom Hardy's 2014 Locke, films in which the performers are the only ones seen on screen for the entire running time.
It is, for the best part of its brisk running time, a stomach-churning ride that bursts with the same force and anxieties of another recent–but far superior–single-setting drama: Steven Knight’s Locke.
Like Steven Knight’s Locke or Rodrigo Cortés’s Buried , Vollrath fully explores the possibilities of this single location, trapping the audience in a confined space from which the wider drama plays out.
It’s a hard thing to pull off, sort of similar to the film “Locke,” with Tom Hardy, in which the entire film follows a character throughout one car ride.
Like other star-driven, single-location thrillers like Phone Booth, Buried, or Locke, one of the finest examples of the genre , the movie makes an implicit promise to the viewer: you're not going anywhere.
Sebastian Thaler's claustrophobic and constrictive cinematography captures the feeling of being stuck in a cramped aircraft in these moments, in many of the same ways Damien Chazelle's First Man depicted the discomfort and potentially treacherous nature of early space travel.