Retrospective scenes drain the story

"Bloody Red Sky" wastes the best ideas in the worst treatment

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It is customary that Hollywood does not improve the Americanization of foreign films, how much Hollywood has failed to make American copies of European, Korean or Japanese films, and even the American press itself recommends watching the original version of any foreign film.

The most famous example of the famous film The Vanishing, the 1988 "Disappearance" by Dutchman George Sleizer, which Hollywood brought back with the same director in 1993 very poorly, after the studio forced him to add changes to suit the American audience, and those changes were in the happy ending interpolated.

Another example was the Argentine film The Secret in Their Eyes, which won the Oscar for best foreign film in 2010, which Hollywood Americanized in 2015 with Julia Roberts and Nicole Kidman, and was so poor that it was ridiculed by the American press.

Examples abound and are not limited to these two films, but today we are facing a unique case in this strange digital era of cinema history.

Cross-border "Netflix" makes foreign films in all countries of the world, and the German movie Bloody Red Sky is a Netflix original production, and it mixes two cinematic genres in an interesting way.

The question, if this film was nominated for an award, is “Will it be considered European or American?!”

The film is poor from its inception, but we chose to publish a reading about it, because it may be a precursor to others.

The strangest question here is: “If an American studio proposed to buy the rights to the film and return it (Americanized) in a way that does not seek to please the American public, as was the case in the nineties and before, but to make it in a way that improves the employment of the two aforementioned genres.”

This film, directed by German Peter Thorworth, is a good example of how not to make a movie!

The film takes its ideas from “From Dusk to Dawn” 1996, “Snakes in a Plane” 2006, and “Train to Busan” 2016. Pretty much for a movie that should have finished in 90 minutes max.

Nadia (Perry Baumeister), a transatlantic traveler with her son Elias (Karl Anton Koch), is hijacked by a terrorist group intending to bring it down.

It is clear that Nadia is hiding a secret that the director wants to reveal as soon as possible.

"Blood Red Sky" should be a movie that takes a sharp turn in the middle, or even later when the terrorists discover something they didn't expect or plan.

Imagine this story from the point of view of the terrorists involved in a kidnapping and then suddenly the story shifts to the heroine's point of view when the bad guys discover that she is in fact a vampire.

We don't spoil anything because it's not a secret, it's revealed in the trailer for the movie itself! This is the story of a single mother who had an accident years ago that turned her into a vampire, and takes medication to keep her condition inside her body and hide it as much as possible, but the violence on the plane leaves no room for that, and sends the vampire character out to drink the blood of terrorists!

The idea of ​​the film in itself is beautiful and good and appeals to many, but the bad way to deal with the routine! Why does a movie about a hijacking reveal to me that one of the female passengers is a vampire in the promotional video? Where is the surprise? There is no logic to the movie even by the standards of its fictional idea. The scenes of violence that precede Nadia's transformation are very weak, and the actors are as if they are not convinced by the idea and give their least. The Nadia/Elias relationship is designed to add emotional bonding and is somewhat functional, due to Baumeister and Koch's performance, but at the expense of the idea of ​​the movie or what it should be. Question: “Is this a vampire vs terrorists movie? Or the relationship of a mother and her son?”, focusing on the second more than the first! The scene of the heroine's killing at the beginning or minutes after the plane flew, which is present in the promotional video, basically undermines the killing scene, reduces its value and even eliminates the tension generated by such a scene. Then the rule adopted cinematically is:"Don't kill your heroine at first unless you're a legendary filmmaker who knows exactly what you're doing."

And there is the part of accusing Arab terrorists or Islamic extremists of hijacking the plane, which had no point in a movie about a vampire against terrorists!

The film contains two ideas that can be used to elevate the story: the first is a vampire against terrorists on a plane, which is a unique idea in the category of horror, and the second is the idea of ​​a mother trying to protect her son from herself and the dangers of life in general or what sacrifices any mother will make to protect her son?

The movie doesn't handle any idea well, and makes you regret traveling with Thorworth on this boring and absurd flight.

• The movie does not deal well with any idea, and makes you regret traveling with Thorworth on this boring and absurd flight.

• The cinematically adopted rule is: “Do not kill your heroine in the beginning unless you are a legend filmmaker who knows exactly what you are doing.”

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