Rendező:
Franck KhalfounOperatőr:
Maxime AlexandreZeneszerző:
tomandandySzereplők:
Rachel Nichols, Simon Reynolds, Wes Bentley, Grace Lynn Kung, Franck Khalfoun, Arnold Pinnock, Miranda Edwards, Philip Akin, Paul Sun-Hyung LeeTartalmak(1)
Szenteste van. Az ambiciózus Angela (Rachel Nichols) utolsóként hagyja el az irodát, és a kihalt parkolóházba siet. Az autója azonban nem indul. A lány megkönnyebbül, amikor Thomas (Wes Bentley), a kedves biztonsági őr a segítségére siet. Miután ő sem tudja beindítani az autót, meghívja Angelát egy kis ünnepi vacsorára. A lány kineveti, de ezzel nagy hibát követ el: a felbőszült, elmebeteg Thomas leüti és megkötözve az irodájába viszi.Angela ráébred, hogy csak úgy érheti meg a karácsony reggelt, ha valahogy sikerül kijutnia a parkolóházból. (Fórum Home Entertainment)
(több)Recenziók (3)
The most gripping thriller I’ve seen lately. It doesn’t rely solely on violence, but the few brutal scenes it has are very good. The story is believable and it has several good ideas (the lift). The good casting of the protagonists is also worth praise, the heroine is likeable and the psychopath is charismatic in his sleaziness.
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A horror film that doesn't start in an original way - a madman falls in love with a woman, so he kidnaps her and holds her against her will. However, the garage setting is interesting, and the actors manage to keep your attention the entire time. Additionally, there are scenes that are truly worth watching if you enjoy gore effects - especially the car collision scene, which is incredibly well-executed, meaning it's exceptionally gruesome.
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Cat and mouse thrillers in closed locations are one of my favourite subgenres. I always enjoy seeing what the writers can come up with in terms of action in a limited space. P2 may not be an outright masterpiece in that regard, but there's certainly something to watch. And I don't just mean Rachel Nichols, who spends most of the film running around clad only in a wet negligee. The confines of the enclosed multi-storey car park are a great location for a minimalist psychological chase and are used to the max (staircases, different levels, elevator, security cameras, guard dog... there's even a car chase). The fact that the main character thinks very rationally and the logic generally works here is also gratifying, something not very common in films like this. Wes Bentley may not be typecast as the lonely sleazeball who picks up women by literally packing them into a suitcase, but he thoroughly enjoys it.
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