★★★ / ★★★★
The British suspense-thriller “Calibre” is the kind of picture that glues viewers onto their seats. The premise involving a hunting gone wrong is quite standard, but it is elevated by writer-director Matt Palmer’s efficient screenplay. Notice that once living bodies hit the ground, every scene inspires the audience to ask, “Then what happens?” Will the two friends and eventual murderers, Marcus (Martin McCann) and Vaughn (Jack Lowden), make it out of the Scottish village or will they die in the hands of a close-knit community who believes that a debt must be paid in full?
We are provided information about how the friendship works. Vaughn, a father-to-be, is the more soft-spoken of the two former boarding schoolmates. We have a clear picture of his morality. He is supposed to be the “good” half of the duo. Marcus the businessman is single, confident, and enjoys having fun with a line of cocaine or three. He takes risks and draws attention to himself—inadvertently or otherwise. Palmer ensures to keep the camera on Marcus as rural folks measure him up. Marcus enjoys attention and admiration. It is critical that we have an appreciation of how the two men are like together and apart. We are meant to observe how they react the moment they shoot a person dead. We measure how their morals are similar or different to our own.
Surely the dead deserves justice, but it is curious that we find ourselves rooting for Marcus and Vaughn to make it out of the village alive anyway. It is not that we wish for them to get away with murder. But if they did not, then there would be more corpses by the time the weekend rolls around. Yes, it is a survival thriller. However, the writer-director underlines the fact that the duo must survive first in order for the situation to have a possibility of being corrected—at least when it comes to the standard rule of law. At the same time, the writing makes a point that because the community lives way up in the mountains, they have their own laws, rules, and morality.
The picture is shot in a matter-of-fact way. I appreciated its simplicity. The ground is always wet and muddy—the filmmakers do not go out of their way to make the woods, the various business establishments, and the people look beautiful or appealing. They just are so it is easy to believe that this particular isolated village exists out there somewhere.
Foot chases possess a savageness to them. Nervous and guilty people on the run get tired easily. There is minimal score. It is so quiet at times that we can almost hear the characters think. When they stare off into space, it is a statement. As they evaluate situations, notice the fond use of close-ups. Clearly, Lowden and McCann are expressive performers. It is not a surprise that the villages eventually begin to suspect their characters. Yes, they are outsiders. And, yes, they are the only ones hunting that day. But they also tend to wear guilty looks on their faces. They are worthy of suspicion. It is darkly comic how something always comes up which prevents the two from leaving the village. Maybe they are already sentenced to hell.
“Calibre” strums the nerves as if they were guitar strings. It is entertaining because the writer-director appears to have an understanding of the push-and-pull among suspense, action, and thrill. At its best, the material even goes out of its way to touch upon the economic hardships of rural communities, how desperate people are unable to find work so they can put food on the table. I wish this aspect were explored more thoroughly, not only a passing glance. It is no accident that our protagonists come from the city.