An English-language remake, by the same director, of a French-made film originally released in 2017. I've not seen that but can't imagine it was much more sombre than the Scottish locations transferred to here. It's a dark, unsettling film about the disappearance from an outdoor, lochside children's camp of a seven-year old boy. As we join the action his father, James McAvoy has just flown into the country and arrives to meet up with his ex-wife and assist the police with their enquiries, as the phrase goes. It soon becomes apparent though that McAvoy, whilst undoubtedly a doting father, is a bit of a loose cannon. Although his occupation is never revealed to the audience, it seems he is some kind of paid mercenary who works in some of the world's hottest hot-spots.
He gets off on the wrong foot however by beating up his ex-wife's new boyfriend when he misconstrues the latter's rather forced bonhomie towards him. Unsurprisingly, the police warn him off the investigation, but even more unsurprisingly, this doesn't stop him and so he starts some digging of his own and uncovers a sinister child-abduction ring, which centres on a derelict old country house in the middle of nowhere,
Again, it's absolutely no surprise when McAvoy confronts the kidnappers on his own, only telling his ex-wife of his suspicions while asking her to raise help from the local police C. O., Michael Moreland, who's been officially taken off the case by someone very high up in London but who personally is sympathetic to McAvoy's plight.
It all ends up in a game of cat and mouse at the old house as darkness falls. McAvoy searches for his boy but has to contend with three goons hired for the gathering and trafficking of the children.
Being Scottish myself, I was fine with both the strong Scottish accents used throughout as well as the stunning scenery of the local countryside. I was pleased that this wasn't some Liam Neeson-type over-the-top revenge thriller but went far more for atmosphere and tension throughout. McAvoy is good as the driven father although Claire Foy gets appreciably less to do as the grief-stricken mother who in the end likewise goes fearlessly to her son's perceived location.
Clocking in at just over ninety minutes, it's a strong, bleak, if occasionally grey and unremitting thriller with Madeleine McCann overtones which gave it a topical feel. A moody soundtrack, gloomy colour palette and much close-up photography, especially of the anguished principals, gave it a gritty realistic quality as befitted the subject matter.
English-speaking remakes of foreign films aren't always successful, but this looked like a good stand-alone film to me which shouldn't get overlooked in this hopefully soon-come post-Covid time.
He gets off on the wrong foot however by beating up his ex-wife's new boyfriend when he misconstrues the latter's rather forced bonhomie towards him. Unsurprisingly, the police warn him off the investigation, but even more unsurprisingly, this doesn't stop him and so he starts some digging of his own and uncovers a sinister child-abduction ring, which centres on a derelict old country house in the middle of nowhere,
Again, it's absolutely no surprise when McAvoy confronts the kidnappers on his own, only telling his ex-wife of his suspicions while asking her to raise help from the local police C. O., Michael Moreland, who's been officially taken off the case by someone very high up in London but who personally is sympathetic to McAvoy's plight.
It all ends up in a game of cat and mouse at the old house as darkness falls. McAvoy searches for his boy but has to contend with three goons hired for the gathering and trafficking of the children.
Being Scottish myself, I was fine with both the strong Scottish accents used throughout as well as the stunning scenery of the local countryside. I was pleased that this wasn't some Liam Neeson-type over-the-top revenge thriller but went far more for atmosphere and tension throughout. McAvoy is good as the driven father although Claire Foy gets appreciably less to do as the grief-stricken mother who in the end likewise goes fearlessly to her son's perceived location.
Clocking in at just over ninety minutes, it's a strong, bleak, if occasionally grey and unremitting thriller with Madeleine McCann overtones which gave it a topical feel. A moody soundtrack, gloomy colour palette and much close-up photography, especially of the anguished principals, gave it a gritty realistic quality as befitted the subject matter.
English-speaking remakes of foreign films aren't always successful, but this looked like a good stand-alone film to me which shouldn't get overlooked in this hopefully soon-come post-Covid time.