Brad Anderson directs Halle Berry and Abigail Breslin in The Call, a thriller that ultimately squanders its potential with a disappointing final act. The story centers on a 911 call center where Berry’s character experiences a professional crisis when a mistake leads to the death of a young girl being pursued by a dangerous man. Later, Breslin is kidnapped and imprisoned in the trunk of a car, prompting Berry to re-engage. Will she be able to rescue her this time? For much of its length, it functions as a solid thriller; it doesn’t offer anything entirely original, but it has some promising concepts, and the scenes featuring Breslin and Berry communicating over the phone are well-executed and acted. Anderson maintains a good level of tension at this point. However, there comes a moment when the trajectory of the rest of the film becomes predictable. The movie abandons logic, suspense, and believability in favor of familiar thriller tropes designed to satisfy audiences who don’t demand much from their entertainment. The police are portrayed as incompetent but fortunately Berry, working as an operator, is able to carry out their duties. This takes a toll on her character though. What began as a portrayal of a complex and emotionally troubled woman has devolved into the kind of illogical actions often seen in poorly made horror films. Or at least that’s how it seems, given a significant plot hole that the filmmakers awkwardly attempt to address! It's unfortunate because both Berry and Breslin deliver strong performances within the thriller genre, and Michael Eklund is convincingly unsettling as the serial killer struggling with his own problems. They all deserve better than this screenplay, which feels compromised after such an encouraging beginning, especially considering Anderson’s previous work, including Session 9, The Machinist, and Transsiberian. The Call can be cautiously suggested to viewers seeking a thriller that is somewhat above average. The actors provide worthwhile performances, the direction is competent, the concept is safe, and the set design for the killer's hideout is appropriately unpleasant. If only the writer and those funding the project had been on the same page and remained faithful to the film’s initial tone, it might have achieved greater success. 6/10

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