‘Calibre’ exercises patience in Györi’s creping photography, only moving when the camera is an extension of an object within the film. In Palmer’s case, it works to his advantage. It’s why reviewing films like ‘Calibre’ are becoming more important as the market continues to change rapidly in new and innovative ways. Netflix’s recent film additions have been increasingly made up of indie filmmakers whose vision outdo the budget available to them outside of such an opportunity. This isn’t a criticism so much as it is an observation. It was obvious from the beginning, ‘Calibre’ was a debut effort. Nothing could prepare them for what follows. It is the worst impression that could’ve been made in the event that something goes wrong. While settling in, Vaughan and Marcus make friends with the ladies and enemies with the old, scruffy power holders of the town. If It weren’t for the village’s reputation of being a well-known hunting center, the place would be abandoned. The village is small and dreary, having the majority of the town’s citizens couped up in bars during the day and barn houses during the night. Vaughn ( Jack Lowden) says goodbye to his fiance, Anna ( Olivia Morgan), before leaving with a lifelong friend, Marcus ( Martin McCann) for a weekend long hunting trip. 75 years later, Matt Palmer in his directorial debut, ‘Calibre’, employs the same painful suspense with the vast landscape of Scottish Highlands as the backdrop to a small village mystery. The wholesomeness of urban neighborhoods is juxtaposed by the dangers of being in the deep city. In the ‘Making of Shadow of a Doubt’ (1943), one of Hitchcock’s colleagues discussed Hitch’s fascination with bringing a sense of menace to a small, everyday American town.
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