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7500 (2019)

When terrorists try to seize control of a Berlin-Paris flight, a soft-spoken young American co-pilot struggles to save the lives of the passengers and crew while forging a surprising connection with one of the hijackers.

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FilmCriticGuild 19 Jun 2020

Excellent movie - realistic and tense, yet not made in the Hollywood style, which might be off-putting for less discerning viewers. Negative comments of "7500" come in the guise of feigned political correctness and personal dislike of pace (ridiculous) or action in that there is too much screaming and banging on the door - I guess the reality would be that one should politely ask that the cockpit door be opened (and not insist at that), and that the infliction of wounds should be accompanied by "I strongly object that you stab me with the glass knife", but only once and in the quieten voice. True connoisseurs of action movies will like "7500".

Michael O'Sullivan 16 Jun 2020

7500 is, at heart, a chamber piece. The setting, the number of characters and the setup are all constrained in an elegant yet dramatically effective way that belies the film’s low budget. There’s a taut, piano wire-like quality to its simplicity: None of the drama comes from action-movie cliches, but rather from the actors, along with the disembodied voices of an air traffic controller, a police officer and others.

Kevin Crust 17 Jun 2020

The cast, especially Gordon-Levitt and Memar as Vedat, the youngest of the hijackers, excel at combining drama and physicality. Rather than the over-choreographed fight scenes of most Hollywood movies, the violence here is clumsy, painful and visceral.

Mauro_Lanari 19 Jun 2020

(Mauro Lanari) "7000" of Patrick Vollrath in his debut fits into the vein of "Locke" (Knight, 2013), "Beast of Burden" (Ganslandt, 2018), "The Guilty" (Möller, 2018): propagandized as an elegant exercise of style in the footsteps of the most claustrophobic Hitchcock, instead it is an attempt to minimize production costs (this time 5 million dollars) by employing a single location and little more than just one actor, a monologuing one-man show for about an hour and a half. The absolute void with autopilot, "all in all is just another crap in the wall".

Brian Tallerico 18 Jun 2020

In the end, it feels more like a cheap trick than a study in filmmaking restrictions or an actor's showcase. Worst of all, it’s always reminding the viewer of its construction, relying on shaky camerawork to produce tension but failing to do so, and almost defiant in its lack of actual characters.