initial skirmish, the players re-
treat to various spots around
the warehouse, but with Wheat-
ley shooting mainly in close-up
and medium shots, we have no
idea where the characters are
in relation to each other, and it
all quickly becomes confusing.
When the characters first enter
the warehouse, Wheatley follows
them in a Reser voir Dogs style
tracking shot when his camera
should be roaming the environ-
ment, hardwiring its nooks and
crannies into our brains (think of
NJ STAGE 2017 - Vol. 4 No. 4
how Fede Alvarez establishes his
similarly limited location in Don’t
Breathe).
When 90% of your movie con-
sists of one long single location
set-piece, you really need an in-
novative approach to prevent it
becoming repetitive, but Wheat-
ley and Jump fail to conceive of
any interesting developments
or twists. They also lose track of
some of their characters, focus-
sing chiefly on those played by
Murphy, Copley and Hammer,
while neglecting the others to
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