Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Patrick Vollrath
Screenwriter: Patrick Vollrath, Senad Halibasic
Cast: Joseph Gordon-Levitt, Omid Memar, Ayilin Tezel, Carlo Kitzlinger, Murathan Muslu, Paul Wollin
Screened at: Critics’ link, NYC, 6/8/20
Opens: June 18, 2020
Movies that respect the 3 Greek unities, taking place within a day in the same place with a single action are rare, something you will find in some Greek tragedies but considered too theatrical for the big screen. “7500” is this year’s Aristotelian drama, all photographed not only in the same plane but in the cockpit, with some screen time given to the havoc in the passenger seats. This is the kind of nail-biter that will have the audience yelling “No, no, no, that’s your girlfriend and mother of your child being threatened with death unless you open the door, but don’t do it!” “7500” exploits the danger that some of feel every time we fly that the aircraft will be highjacked, a feeling more likely after 9/11 when movies like “Gaganam” (2011), “Snakes on a Plane” (2006), “Kandahar” (2010) and “Nonstop” (2014) came out. To stand out from the others, new movies on that theme try to be different in some way. “7500” does this by taking place in a claustrophobic place that has room under normal conditions for just a pilot and first officer.
The opening scene is strictly preparation for a flight from Berlin to Paris, just 530 air miles, seemingly too short for would-be terrorists to do what they have to do, though that may depend on just what the bad guys want. Do they want to hijack the aircraft to Kabul? To Teheran? To Sanaa? At first we don’t know, but as things turn out neither does one of the three extremist Islamic, at least one and probably all of Turkish ethnicity living in Germany.
A number of air criminals who commandeered planes on that dark day in 9/11 may not have realized that the plan of the leaders was to crash and die. Similarly Vedat (Omid Memar), one of the three desperadoes, has no idea that taking the plane down and killing the crew and all passengers is the motive for avenging the deaths of Muslims in the hands of Westerners. The Captain, Michael (Carlo Kitzlingler) and his first officer Tobias Ellis (Joseph Gordon-Levitt) run through the usual flight prep just after Tobias gets to kiss his flight attendant girlfriend Gökce (Ayilin Tezel). No sooner does the German plane reach cruising altitude then Kinan (Murathan Muslu), taking advantage of the momentary opening of the cockpit door, lands inside brandishing a knife made of glass.
Director Patrick Vollrath, veteran of eight shorts including “Ketchup Kid” (an eleven-year-old outsider makes a friend), takes off with his first narrative feature film, one which shows that the German born fellow is destined to be in the director’s chair for a number of thrillers to come. He makes the smart move of eschewing music in the soundtrack, preventing us from being distracted by anything but the noise of the bad guys outside the cockpit pounding on the door, making us in the audience wonder whether this is the way they will get inside.
What happens during Tobias’s tête-à-tête with eighteen-year-old Vedat (Omid Memar) need not be revealed here, but suffice it to say that Tobias, without agreeing in the slightest with the Islamist argument that revenge is necessary because the West has made war on Islamic radicals, develops Stockholm Syndrome. He hopes first to get out alive, then to make sure that his new “buddy” will be treated well if he decides to surrender to the German police.
At just 39, Gordon-Levitt has been busy, with 84 acting credits. He can do what he does in “7500” in his sleep. To see what the actor can really do, you’ll want to take in his role as the title character in Oliver Stone’s “Snowden.” Because of the fierce acting by Memar and Gordon-Levitt, the latter fluctuating between grabbing a glass knife to kill or injure Memar and making sure that Memar is treated fairly, “7500” (the code name for a hijacked flight) is better than the typical B movie. But it is still a B movie.
92 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online
Story – C+
Acting – B
Technical – B
Overall – B