Swedish action-adventure production “Horizon Line” unfortunately relies on seriousness rather than the paradox of its deliberately exaggerated story – an ex-lover caught in a big tropical storm on a small unmanned aircraft. Uninteresting characters with no previous history, whose fate does not touch you.
After a friends’ wedding party, Jackson (Alexander Dremon) and Sarah (Allison Williams) are assigned pilot Wyman (Keith David) to fly from an island in the Indian Ocean. Tragedies on the way: Sarah had to take the wheel after the Wyman had a heart attack. Without a chance to land, she tries to keep the machine moving. As a tropical storm approaches, the struggle for survival really begins.
The basic concept of “Horizon Line” is diverse and offers some interesting approaches. Unfortunately, director Michael Marcemein does not manage to use the plot for a claustrophobic, suspenseful thriller that shows two people in a confined space above the clouds. The reason is that the film, shot in Mauritius, misses the most important and original suspense moments, because of the absurd and weak script that fulfills all disasters and air thriller clichs. Deviation from faulty compass and autopilot to unstable radio contact to indicate loss of fuel line leakage and to aimless flying machine. These elements and set pieces are all predictable and general. Especially since misfortune befalls two people who do not develop an emotional connection to one another. You don’t care about the fate of Jackson and Sarah. Character drawing is monotonous and immature, and the chemistry between Dreamon and Williams is not right. The only storyline that hints at their interesting prehistory fits in well with the film. It remains very superficial and obscure.
To this end, Marsimine focuses on action and stunt interludes, some of which are well done and optically scored. The visual power of the image is accurate as the plane flies through a violent violent storm with lightning and terrible thunderstorms. Intimidating, noisy, rich background noise (engine noise, propeller noises, thunder) is ideal for this. But in the end it is not enough to convince. “Horizon Line” takes it very seriously. Exaggerated moments like the daring attempts to make repairs outside the plane are completely paradoxical and humorous – so it seems like a joke without further ado. A few more eyes and (self) paradox would have made the film better.
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