A young female WWII pilot boards a fighter aircraft, but everything escalates when a creature infiltrates it.
The animation in the beginning is well-made, but it shouldn’t be there. It has no place within the film and gives away what is going to come next. I can’t guess its purpose for the life of me. There is a difference between foreshadowing an event and ruining the suspense. It’s like self-mockery.
Straight after, as it started from the second act, the film’s visuals promise a horror that will raise more questions than answers but definitely still deserves the benefit of the doubt. Two things stand out positively immediately: Kit Fraser’s claustrophobic cinematography and Chloë Grace Moretz. Rumour has it that writer/director Roseanne Liang heavily rewrote Max Landis’ script (and removed him from the production) due to the latter having been accused of sexual misconduct. Regardless of the allegations, the heavy rewrites kept the humongous plot holes, did nothing to favour the script, and heavily damaged the film with implausibility and charade. The film’s best part is from the moment the animation ends to the moment the gremlin gets inside the plane. From then on, everything goes to sh*t. Furthermore, Mahuia Bridgman-Cooper’s electronic, new-age, ambient, space, and cyberpunk music is beautifully composed but, in my humble opinion, is way out of context in a WWII movie. But then, everything else is anyway, so I don’t even know why I bother.
Films such as Hidden Figures (2016) empower women and honestly portray humankind’s fortitude. The rest is just Hollywood’s moronic way to try and milk the cow and, thankfully, gets nada in the end. Moretz is an amazing actress. Liang seems to have a spark for innovation, and I bet I will see them both in something extraordinary again.
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Solidarity for all the innocent lives who suffer the atrocities of war!
Stay safe!
