2021 Directed by Peter Thorwarth
A woman with a mysterious illness is forced into action when a group of terrorists attempt to hijack a transatlantic overnight flight. In order to protect her son she will have to reveal a dark secret, and unleash the inner monster she has fought to hide.
Peri Baumeister Carl Anton Koch Kais Setti Alexander Scheer Dominic Purcell Graham McTavish Roland Møller Chidi Ajufo Rebecca Dyson-Smith Leonie Brill Nele Kiper Rainer Reiners Ilona Schulz Nader Ben-Abdallah Jacqueline Macaulay Wolfgang Michael Petra Michelle Nérette David Hürten Florian Schmidtke Adriana Altaras Valerie Vachkova William Young Rutger Lysen Jamie Marshall
Transatlantic 473, Ciel rouge sang, Кроваво-красное небо, Кроваво-красное небо / Blood Red Sky, ฟ้าสีเลือด, Кървавочервени небеса, Krvavě rudé nebe, Ματωμένος Ουρανός, Cielo rojo sangre, שמיים אדומים כדם, Krvavo nebo, Vérvörös égbolt, ブラッド・レッド・スカイ, 블러드 레드 스카이, Kraujo spalvos dangus, Krwawe niebo, Céu Vermelho-Sangue, Krvavo rdeče nebo, Kızıl Gökler, Криваво-червоне небо, Bầu Trời Nhuốm Máu, 血色天劫
SingaporeM18
AustraliaMA15+
Brazil16
France
Germany16
Greece16+
Poland
Spain16
UK18
USA
Australia
Brazil
France
Germany
Greece
Poland
Singapore
Spain
UK
USA
Personally I think this ran way too long but on the other hand huge points for being a "Yes, and" movie that keeps finding new and genuinely surprising ways to play itself out. Serious commitment to the bit here.
I am fully support at vampires killing each other but I draw the line at killing dogs.
In the grand tradition of “Deep Rising” and “From Dusk Till Dawn,” Peter Thorwarth’s “Blood Red Sky” is a hijacking thriller that — at just the right moment — is suddenly hijacked itself, as the bad guys realize that they’re in a very different movie than the one for which they signed up. Except that “Blood Red Sky” doesn’t find just the right moment; this undercooked, overlong piece of genre-blurring German schlock hardly even seems to look for it. On the contrary, this midsummer Netflix release drops its big twist with all the panache of an incidental detail, one that requires too much backstory and offers too little excitement in return. And so what could’ve been a fun chimera that someone Frankensteined together from two wildly different films instead becomes a low-flying slog that fails to sew its mismatched parts into a monster with a personality of its own.
First half: tense thriller, second half: silly horror, final product: complete nosedive.
During a flight, a group of men hold an entire plane hostage. They all seem to have the upper hand until they encounter something unexpected: the bride of Nosferatu.
I had no idea what to expect going into this movie. The only reason I knew it existed was that John Campea mentioned something about a "German vampire flick that takes place on a plane.". I was intrigued by that pitch, and with not much to watch, I decided to hop in.
For what it aims at, this was mostly entertaining.
The film needed to have a lot of fun for a stupid premise, as it plays everything very seriously for most of its runtime, nevertheless I thought the premise was…
Plane to Busan: a vampiric hijacking.
Criminally underappreciated flick here on letterboxd. What a wild, intense and blood red flight it was! Jeez! Tension ramped up to 1000% here. Another great, visually striking and brutally horrifying addition to Netflix' recent horror revival. 2.8 avarage? Really?
Say what you will about Netflix's mixed bag of horror originals, but they do release some memorable foreign gems.
This was so much better than I expected. Basically a mashup of Train to Busan and Snakes on a Plan that is not is good as the former but miles ahead of the latter.
The backstory, told through flashbacks, is actually interesting and the terrorist bad guys have more personality than is typical for a genre film.
This could make a good prequel film to the horrible TV series by FX, The Strain. That series, based on a book trilogy by Guillermo Del Toro and Chuck Hogan, starts out with a plane of "dead" passengers landing in NY releasing a vampire…
Pretty boring plot. It wasn't an exciting film in the slightest. Netflix please stop making these horrible movies!!
P.S. That kid was annoying as hell..
Could definitely stand to be a bit shorter, but fortunately it’s structured really well, the way it unravels and slowly escalates throughout is genuinely engaging. Equally engaging is Peri Baumeister, she nails the emotional beats and puts in a hell of a physical performance too. Good stuff all around.
This was much better than I was expecting for a “Netflix original” horror movie because the bar is always really really low there.
It’s definitely too long at just over 2 hours and about halfway through it starts to drag a bit before picking things up for a surprisingly fun finale. Still, there are a lot of neat touches and they really do make the most of the single location. The lighting is also really good and gialloesque (it’s a word if I say it is) with lots of green, yellow, and red hues.
I really want a ticket for one of these movie planes with wide rows, ample seating, and spacious aisles because those are not a thing on any flight I’ve taken in the last decade!
I do wish they would have given Dominic Purcell more to do. I’m not saying he’s the greatest actor, but it doesn’t matter because he sure is a nice piece of cake.
Vampir-Tage die Siebte (7/2)
Wenn die Begeisterung einem die Sprache verschlägt
Vor diesem Watch ging die (Vor)Warnung einer Netflix-Produktion, diversen und längst vergessenen Letterboxd-Reviews und kaum vorhandene Erinnerungen um einen kurzen Kino+-Bericht samt der eigentlich immer bei mit mitschwingenden Vorsicht eines Horrorfilmes und generell eines Vampir-Filmes dessen Genre-Highlights wahrlich rar gesät sind und sowieso jeder deutschen Produktion die außerhalb ihrer DDR- Drittes Reich- und Tatort-Babbel fischt.
Bekommen habe ich dagegen der Zusammenschluss, die zwei sich reichende Hände meiner großen Vorlieben eines komprimierten Settings – hier ein Flugzeug – und meiner Lieblingshorrormonster – Vampire.
Mit Beginn zeigt die deutsch/britische Produktion was sich einhundertzwanzig Minuten ausdehnt: hier war Geld vorhanden. Die komprimierten Sets sehen fantastisch aus, ob Flughafen, die Außenansichten des Flugzeuges…
