Palmer has a lot of intuitive talent, it is clear, but he's also making his first feature, and for all its strengths, which can be considerable, this is a very nervous film. I know this last fact because Vaughn states it outright in dialogue to one of the locals at the bar which appears to be the only viable commercial business in the town we're staying, and this brings us to maybe the most persistent problem with Calibre. A hunting trip being something that Marcus is going to enjoy a lot more than Vaughn, no matter whose weekend this is supposed to be. And this weekend, that friend, Marcus (Martin McCann) - finance expert by day, cokehead partyboy by night - has decided to celebrate/mourn the impending end of Vaughn's irresponsible childless years by arranging a hunting trip to the Highlands. Vaughn (Jack Lowden) lives a quiet life in Edinburgh, happy to sit at home with his pregnant fiancée, but he's got one of those friends that so many approaching-middle-age guys in movies do: the wild one who never quite grew up, the one Vaugn has definitely have outgrown & knows it, but habit and respect for the old days means that he can't bring himself to ever stand his ground and say no. The film, the feature debut of writer-director Matt Palmer, is a very '70s-esque of the terrible things that happens when urbanites head into the countryside to do Manly Things. I mean, for God's sake you guys, it's a Netflix genre film that tells an interesting story with well-defined characters! It's nice to look at! Holy shit, roll out the Oscars!īut no, for real, Calibre is good & worth your time. Dismantling the system of this socioeconomic experiment unravels through David Desola and Pedro Rivero's knotty, exposition-packed script.It speaks to how quickly the words "Netflix original" have come to mean "like a direct-to-video film from the '90s, only somehow even sadder" that a pretty straightforward thriller like Calibre seems like a small masterpiece. Those on the top get first dibs on a giant platform of food that descends from the ceiling everyday those on the bottom get the scraps-or nothing at all. Instead of a train, The Platform takes place in a prison-like structure called the "Vertical Self-Management Center" where inmates live two to a floor. It's difficult to watch The Platform, a cannibalistic prison freak-out from Spain, and not imagine a producer sitting in a conference room or a coffee shop and musing, "What if Snowpiercer but vertical?" The debut feature from Spanish filmmaker Galder Gaztelu-Urrutia boasts an appealing high-concept premise, an oddly affable leading man in actor Iván Massagué, and a series of brutal twists that should intrigue anyone currently watching the news and thinking about the possible end game of rampant inequality.
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