Un triángulo de engaños anclados en lo utilitario de las personas para el escape de sí mismo. El montaje es dinámico y con un elenco mínimo logra sostener la emoción del espectador en cada plano secuencia. Reconocimiento especial a Gemma Arterton por el sometimiento real al que se autoimpuso.
Starts off much more promising than it turns out to be. How many unbelievable twists were there? I lost count after half a dozen or so. The acting was mostly over the top, though Arterton was in good form sometimes. Drooping pace, stale design - an overall tepid affair.
Full of twists and turns but none of the three main characters are likeable enough to turn it into a classic. The love triangle isn't believable and quite frankly by the time it hurtles to the end, i'd stopped caring. Might be some peoples cup of tea but not mine.
Very impressive, under-the-radar, British indie. Arterton is superb and Marsan is always a pleasure to watch, especially in villainous roles like this. It's a shame Compston is a let down. The story appears simple at first; two men kidnap the daughter of a wealthy man and hold her to ransom. But every time you feel comfortable, a twist arrives, and I still can't decide if they're brilliant or ridiculous.
A film that never gets bored of itself. If anything, it constantly goes the other way from what it made you believe the last few minutes - whether it is with a sense of humour, a clever line, a twist in the plot. It didn't rock my world, but it was energetic and, ultimately, entertaining.
I thought this was pretty good, including the ending. We aren't given any clues really as to the character or family relationships of the kidnapped girl but, given what she's just been through, and given what she's found out about her supposed boyfriend, I could imagine her taking off like that with her father's money . . . wouldn't you?
The Disappearance of Alice Creed despite its simplistic interior formulates itself as one of the more explosive and enthralling thrillers in years. A dark sense of fear is utilised phenomenally well, as is the film’s accomplished screenplay that never allows for breath or freedom, always challenging the dynamics of the conventional thriller with its claustrophobic presence and astute trickery.
would've benefited greatly from a tighter direction, loosing some of it's jolts in exchange for psychological thrills, but despite that, it's pretty well done for a picture that only has three people, and it never steers towards a seedy exploitation film despite its content
This movie was made for Park Chan-Wook to direct. Too bad J Blakeson was assigned for the job because, despite an interesting premise and a promising first half hour, it's a meandering mess of a film polluted by hair-brained characters constantly blowing it.