Aaron’s review published on Letterboxd :
When a film begins with flash cuts of a horse being caned then shot- mostly played in sound- I began to wonder about my own thoughts on beating a dead horse. We see this imagery a couple of more times throughout without real connection to who this kid is, later finding it to be Cale (david tennant) a trust fund kid with a dirty secret.
But the metaphor for horse beating could be a visual nod in this genre entry- the thriller. Dean Devlin's new found approach from producing to directing could prove just how much he's willing to spend on unremarkable product, but this toe into the water is clearly wishing to cross breed Gone Girl with more superb Hitchcock tropes.
It begins quite well and unexpected- two teens who moonlight as valet drivers steal a rich guys car and go to his house and find he's got an abducted girl hostage. From there a cat and mouse thriller, naive police, hardened FBI agents and smart with reflexes teens.
David Tennant at the center as the antagonist is quite good for the most part except when he opens his mouth, as the dialogue that he utters is careless and nicely moves pin headed plot devices ahead, as well as being shrieking on the verge of tantrum. Perhaps the producers are commenting on brash trust fund kids and habits of conniption fits. He isn't imposing but has a lot of resources.
For the first hour of tense atmosphere and race against the clock the film unravels spectacularly with our killer being brought down quite easily and hands wiped clean of this exercise in bland been there tropes.
Perhaps more style could've subverted these easily trappable tropes, but we're not going to look at what could have been,for the product is what could've been- and executed poorly.