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Hallow Road

In my review of THE MANDALORIAN AND GROGU, I readily admitted that I am a sucker for a STAR WARS film. The same can be said for what my professor and former film-critic Doug Brode used to describe as “fish bowl” films. These are movies that take place within the confines of a centralized location and often feature a minimalist cast. If you can tell a story and keep an audience engaged despite offering almost nothing in terms of setting, you have something uniquely special on your hands. It’s certainly daring, and can often lead to incredible results.

HALLOW ROAD begins in the home of Maddie (Rosamund Pike) and Frank (Matthew Ryhs). An argument of some kind has taken place, and there is an animosity in the air surrounding their daughter, Alice (Megan McDonnell). What begins as spousal annoyance spirals into horror when they receive a call from their child. She has been involved in an accident. While driving deep in the wilderness, a girl ran in front of her, and Alice struck her with her vehicle. The girl is grievously injured, and as the parents get in their own car to head her way, Maddie, a paramedic, begins to give her instructions on how to perform CPR. By the time the bones start crunching, you know that this is going to be a nightmarish ride.

For nearly all of the remaining running time, HALLOW ROAD rarely leaves the interior of the car. In that time, tension builds and soars to unimaginable heights, thanks to expert filmmaking and the incredible performances by Pike and Rhys. Director Babak Avari and screenwriter William Gillies found a way to craft an engaging tale that grows ever more perilous as the couple races towards their daughter. As is often the case in films such as these, music becomes a character in its own right. Lorne Balfe and Peter Adams have ensured that this occurs here, adding a level of discomfort that heightens the tension and highlights the inevitable devesation that await the helpless parents.

There is only so much that can be down in terms of craftsmanship in “fish bowl” films, and ultimately, the success of the production is dependent on its leads. Pike and Rhys rise to the challenge superbly. As parents with different beliefs and philosophies, they must work together to not only keep their daughter rational and calm but must resist their own rising sense of panic and terror. With each passing minute the situation becomes increasingly bleak, and soon, decisions are made that will impact every life involved. Maddie, as a trained paramedic, thinks in professional terms, whereas Frank’s only concern is his daughter. Revelations surrounding the accident grow shockingly fraught, as does Alice’s emotional state. Through it all, the viewer is left wondering what will happen next, long ago forgetting that the film has taken place in one central location for well over an hour.