Oxygen Review Movie
The idea was conceived prior to the pandemic, Oxygen — or Oxygene in its original French is a perfect tap into the claustrophobic fears of the 'rona. It was initially planned to have Anne Hathaway (who starred in her own pandemic movie, Locked Down), then Noomi Rapace (who is still an executive producer in this), Alexandre Aja shot the film using a tiny number of actors (Inglourious Basterds' Melanie Laurent eventually signed to join the film) and crew locked down which is where the connection between the subject and the surrounding world could not have been more fitting. Aja has previously crafted scares using the killer fish (Piranha 3D) and killer alligators (Crawl) This time, he utilizes his awe-inspiring technical skills to a deeper investigation into identity and isolation. It's a bit like a futuristic version of Ryan Reynolds' trapped-in-a-coffin movie In actuality, aided by the outstanding Laurent, Oxygen is so more.
The idea is so high. A woman we are to recognize as Omicron 267 (Laurent) is snatched wide awake, encased in a cocoon and wearing straps to restraining her chest. She soon realizes that she's in a super-sized cryogenic chamber, but — raising the stakes of Buriedshe has no idea of the location she's in and what brought her there, and, perhaps more important than all that what she's doing there. There are clues coming via MILO (Medical Interface Liaison Operator which is voiced by Quantum of Solace's Mathieu Amalric) A computer on board device that is designed to track her health.
It's a sounding technological version Ryan Reynolds' Buried; In reality, assisted by an amazing Laurent, Oxygen is so more.
Aside from the amnesia Omicron 267's most significant issue is that she's exhausted of oxygen, that is at 35 percent and growing (at 3 per cent at which point the CEP is activated, also known as the Charitable Euthanasia Protocol, activates). This is where the excitement of Oxygen begins to take over as Omicron 267 begins to bargain in a frantic manner with MILO to get the answers that complete the gaps in her past, and help her get free (in an oblique reference to our modern lives, the main problem that's preventing her from being free is the fact that she isn't able to remember the administrator's password). There are hints of potential experiences (the sea, her husband and the hospital gurney) and a discussion with the police trying to locate the location of the pod, as well as an encounter with a needle stuck to an arm , which provides the option of sedatives or even palliative care. In a flash in her mind, she calls MILO to conduct the DNA test, which can be an exciting development.
Aja as well as Christie LeBlanc's slim script increase tension and anxiety in the first half and Liz's game of guessing with MILO are extremely entertaining. As filmmakers, Aja finds a dizzying variety of angles and lighting clues to make Liz's dilemma not become visually dull. The real ace in the hole is Laurent who is by often sour and anxious. Her mental gymnastics in the face of pressure credible also, through her reactions to MILO she also gives the film a clever and needed line of dry humor.
It's not surprising that the moment Aja is forced to reveal his hands and reveal his hand, the film's grip begins to weaken, before slipping into exposition and big themes that are at odds with the intimate set-up. The result, however, is Aja's best enjoyable and enjoyable production to date. Sometimes , there's an argument about exploring the boundaries of the box.