6.7 | / 10 |
Users | 0.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
A stranger visits a woman in her isolated home, and the two begin a bizarre night of mind games in this science fiction thriller.
Starring: Malcolm McDowell, Madolyn Smith OsborneThriller | Insignificant |
Sci-Fi | Insignificant |
Mystery | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 2.0
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (C untested)
Movie | 3.0 | |
Video | 5.0 | |
Audio | 4.0 | |
Extras | 3.5 | |
Overall | 4.0 |
1987’s “The Caller” is a movie that’s not easy to describe. Doing so in any meaningful way might slip into spoiler territory, as the screenplay by Michael Sloan loves its slow build to a surprise. Think of it as an extended episode of “The Twilight Zone,” with Sloan trying to find his way through a tale of confrontation and paranoia without unleashing the weirdness of it all too soon, keeping director Arthur Allan Seidelman on his toes dreaming up ways to turn mysterious antagonisms between two characters into a feature-length story.
Dealing with a limited production scope, the AVC encoded image (1.85:1 aspect ratio) production has little trouble finding cinematographic textures. "Newly scanned and restored in 2K from its 35mm interpositive," "The Caller" offers strong detail throughout the viewing experience, which is mostly limited to time inside the cabin. Woodsy interiors and decorative additions are easily surveyed, and clothing is fibrous, with Smith making various costume changes during the film. Facial surfaces are exact, with wrinkles and fine hairs. Exteriors are dimensional. Colors are bright and secure, doing well with outfits and makeup. Lighting extremes also deliver, including an ominous red glow in the background of some forest shots. Skintones are natural. Delineation is satisfactory, protecting shadowed events. Source is in strong condition with some mild scratches.
The 2.0 DTS-HD MA sound mix delivers dramatic power with dialogue exchanges, which largely retain emotional range and intensity. Scoring cues offer full synth support, managing moods without intruding on the performances. Sound effects are direct. Around the 55:00 mark, there is a noticeable dip into a muddier sound, possibly due to damage. The issue is short, lasting a few scenes before returning to previous sharpness.
Everything leads to the climax, which is meant to be a grand payoff for all the confusion. A resolution is there, but "The Caller" ultimately connects through performances from Smith and McDowell, who offer wonderful commitment to material's uneven unreality, tasked with carrying a story that's not always in motion.
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