The Caller (1987)

 

Lots of intense moments where weapons are pulled.

This is quite a peculiar watch. You basically have two characters, the Malcolm McDowell "investigator" and the Madolyn Smith "suspect", but during the entire running time of this film, they exchange some sort of game of verbal joust, featuring a lot of rope-a-dope. So McDowell presses Smith on the man and daughter in her life, perhaps hinting at violence and murder. Smith seems destined to find a way to kill McDowell and escape from the cabin. When she's out, you never see a single soul except McDowell. McDowell seems to always be there, while Smith can't seem to get much space without him intruding on it. She drives out from her cabin and wilderness prison, McDowell makes sure she returns, even if he drives her (like some crazy lunatic around curvy roads and nearly off cliffs on a mountain) in his speedster without much say-so on her part. I think almost every single viewer will see the obvious: Smith is a prisoner. Why McDowell persists to stir Smith up, encourage such anxiety and drive her to the edge, and Smith responding by attempts to seduce him, as well as, figure an advantage against him so she can break away. I am the first to admit that the finish to the film, the twist on McDowell's character and "points" argued between them as if enough calculated will free Smith from this damn cabin (and how this pertains to Smith's daughter), was quite a shocker. It is quite a special effects showcase for John Carl Buechler, because as McDowell lays on the ground, the physical reaction to Smith's attack on him isn't just a few seconds...the "fireworks" going off, the heavy twitching, the mechanical hand, and McDowell really putting in the work to make his character seem as if the electrocution causes him to "short circuit". The acting in the film is top notch, with these two having to really carry a 100 minute film. And their dialogue exchanges have to maintain this sense of elusiveness with a gradual clearing of the mud from the waters until that ending where we see that this is literally about points in order to win a mind game. Seeing a completely whole McDowell in the woods as poor Smith tries to escape the "compound" and follow her daughter's voice has this devastating impact to it just because of how hard she worked to outsmart "the previous model". This is actually an Empire / Charles Band production, set in Italy, and I'm truly surprised The Caller (1987) isn't one of those films greater emphasized as essential viewing. It really is a sleeper, a unique film within the "Band brand" that you'd think would be a cult curiosity. This was NEVER on my radar until just recently when I heard it mentioned during a few podcasts. It was available on Tubi for only a week longer. I'm glad I got to see it. McDowell remains so compelling, but Smith, to her credit, is his equal...and they continue throughout the whole film just challenging each other. 4/5