In another of its original forays, Netflix decided to return to investing time and creativity in yet another supernatural horror – something that could follow in the footsteps of the fun “Street of Fear” trilogy or fail miserably as the “smug” A Classic Horror Story ‘. Entitled “Red-Blood Sky”, the feature film promised to revive the classic horror tales that populated the popular imagination in the 19th and early 20th centuries and build a plot centered on Nadja (Peri Baumeister), a vampire who fights against his own. identity – until he realizes he must free the beast inside to save his son, Elias (Carl Anton Koch).
The two travel to New York so that Nadja can treat the “disease” she is carrying in the hands of an expert, but things take a turn for the worse when a group of terrorists hijack the plane they are on and bring the protagonist to destroy whoever gets in your way so that Elijah survives. However, despite the interesting premise, which modernizes the formulas of the genre by placing them in a contemporary situation and with an air of suspense, the film gives way to so much intrigue that following the grueling two hours becomes a complicated work. With the exception of a few solid sequels and performances, the result fell far short of what was expected – even for those who didn’t have high expectations.
It is customary for the first act of any film product to present the main points to the audience – and in this regard, director and screenwriter Peter Thorwarth resorts to an alternate chronological inversion that already maintains the intriguing atmosphere: the opening sequence shows a plane landing in the middle of military encirclement that doesn’t reveal much, but already arouses our desire to understand what happened. Shortly after, we return to the arc of Nadja and Elias, whose initial appearance already foreshadows a gigantic tragedy. The problem is, Thorwarth doesn’t seem to know which direction to go, resolving to merge what he can to build anything that refers to the original.
The multiple misunderstandings could easily be ignored – if the job was not taken seriously. The entertainment is there and even serves the purpose of entertaining, but only when it does not turn into subliminal messages of motherhood and abandonment. Going for a tribute to slashers would be a better and more cohesive path, but the director insists on betting tokens on a hidden drama that forces connections with viewers and tries to delve into very stereotypical personalities, in the sense of social types in the movies. feature films. Nadja is the anti-heroine who, victim of a curse, tries to do her best not to surrender to darkness; Elijah is the personification of innocence, and as his bow unfolds he plunges into obligatory maturation and sacrifice; Farid (Kais Setti) is the sidekick hero who is ultimately seen as the culprit before the grand finale – and so on.
The introduction of the antagonists is another bright spot, at least until the shootout that culminates in the “death” of Nadja, whose fantastical build is the last of great value to the film. From then on, the story falls into a motivational oblivion that revolves around itself and reaches nowhere: the protagonist reveals her true form and launches a counter-attack against her tormentors, regaining consciousness to ensure the safety of her. child. The vampire aesthetic brings artistic inspirations from ‘A Lenda’ and ‘Nosferatu’, working within the framework of the proposal and causing momentary fear in those who decide to face it. Humanizing it to the extreme, however, was a bad move, as the conclusion makes no sense and leaves a bittersweet feeling of frustration.
Another aspect that tarnishes the structure is the pointless explanation of Nadja’s origins, which breaks the rhythm of angst for an overly frenzied psychological thriller. The scenario returns at will to a not too distant past, which seeks to make ends meet and never achieves its objective, opening loopholes to other questions that can only be resolved in one way: un deus ex machina mentioned with such predictability that it is even a comic escape from an already defeated mythology. Even several supporting actors don’t get the treatment they deserve, throwing them at wolves (or, for that matter, vampires) and throwing them in the blink of an eye.
Between stupid choices and a complete abandonment of being engaging, ‘Red-Blood Sky’ cannot fit into any genre, emerging as another lousy Netflix original production and surrendering to artistic pedantry whose only answer is twisted looks and regret at having ventured into this dead end.
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