Dot (Belle), a young deaf and mute woman, is sent to live with her godparents (Falco and Donovan) and their daughter (Cuthbert). The new addition to the household realizes that everything is not copacetic in the home, and the family's dark come to light.
A popular and common urban legend. Jill is babysitting for Ms. McKenzie, who leaves Jill alone in the house late at night while the children sleep peacefully upstairs. While Jill does her ... See full summary »
Jill Johnson is being forced to babysit at a BIG house all by herself for exceeding her telephone minutes. Then all of a sudden a stranger calls making these weird remarks. Jill decides to call the police to trace the call. Jill is freaked out when she finds out that the call is coming from inside the house! Jill runs in a hurry trying to get the children and leave. Will Jill make it in the house in time? Will she live? Well you just have to watch the movie to find out! Written by
About mid-way through the picture, Jill calls her friend at the bonfire, but the static on the cellphone is nothing like the sounds one would expect from a real cell phone, when reception is poor. Also, the intercept she receives in subsequent attempts to call her friend, includes, initially, chimes initiated by the old Bell system decades ago for land line phones. Cell phone companies don't use those chimes, nor do they use the wording used in this movie. The recording wouldn't say: "I'm sorry, the person you're trying to reach is out of range," not since the nineties anyway. See more »
I'm starting to wonder if all these PG-13 horror movies are just glorified screen tests for young and emerging talent. Get a first-time screenwriter, an inexperienced director, a few TV actors looking for their bigscreen break and see what they can do. 'When a Stranger Calls' is a little better than most such recent offerings, but is still completely by-the-book; riddled with plot holes and genre clichés.
The story is unbelievably simplistic. The slim 87 minute running time is heavily padded with inconsequential friends and a pointless cheating boyfriend. The killer is devoid of even the token motivation of Jason or Michael or even the original movie's killer, and as a result is never particularly frightening. The police behave in such an unbelievably ineffectual and lazy manner as to verge on professional misconduct. Simon West brings the same attractive banality to proceedings that he managed with Lara Croft, but his style of directing is decidedly generic, possessing no indicators of real talent or vision. The performances are routine, dark hallways replace genuine horror, and the scares are of the tired cat-in-the-closet variety.
The cinematography and production design, however, are above average for this kind of film. The house is beautifully designed, all dark wood and glassy reflections, and there are a few moments that are of visual interest.
Though lacking an ounce of dramatic originality, it acts as a reasonably satisfying 'dark house' thriller, and maintains interest longer than most of its ilk.
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