Centring around fast paced action, but leaving ample room for genuine character development that adds weight to the inevitable violence. Violetta Schurawlow's heroin is a dead pan badass who's easy to root for whether she's navigating personal drama or a vicious psychopath. The film commits to a cool, noir style through it's dreary score and dark but stylish visuals that nod to vintage giallo.
22 Reviews
Not a perfect film, but certainly closer to paradise than to hell
Horst_In_Translation27 July 2017
Warning: Spoilers
"Die Hölle" or "Die Hölle - Inferno" or "Cold Hell" is a German/Austrian co-production from this year (2017) and the most recent release by Austrian filmmaker Stefan Ruzowitzky. The script is by Martin Ambrosch, who is mostly known these days for his several collaborations with Andreas Prochaska, another one of Austria's most known filmmakers. Back to Ruzowitzky, his career-defining work is still of course the Oscar-winning "Die Fälscher", but this new movie here is something entirely different. It's a crime thriller and a strong character study. It is a bit of a breakthrough film for lead actress Violetta Schurawlow I guess as she is the center of the film from start to finish. The support she is getting by established actors like Moretti (good as always), Palfrader and von Thun is not hurting either.
These 90 minutes are the tale of a young woman who accidentally ends up witnessing the murder of a prostitute and not much later the killer is after her as well as he wants to make sure the witness is dead and cannot identify him later. The film also moves to the upper class as we find out the killer is far from being a homeless crook or anything. The one thing he did not expect though were the excellent fighting skills of the central character as he is about to set her on fire near the very end. Add to that a touch family drama involving the protagonist (the little girl, the parents etc.) and a slightly underdeveloped cop story (about Moretti helping the woman) and you have a fairly convincing crime movie as we do here. Then again with Ruzowitzky's previous achievements, one cannot be surprised this turned out well. For him, it is a bit of back to the roots as the movie (including the graphic violence and scary atmosphere) has some parallels to Anatomie, even if the subject is of course entirely different. Schurawlow does a good job and is able to carry the film nicely. Her looks aren't hurting either. Only when the film turns a bit into the powerful woman / emancipation movie, for example the Gpd/penis reference towards the end, it gets a bit weaker. But I liked several aspects of it nonetheless. For example that it is not really important who exactly the killer is as it is always more about the big picture and he is just means to make this a more exciting watch really. His identity is secondary. Or the rescue scene at the very end where in a generic film (i.e. a Tatort) Moretti's character would have rescued her the last second from the bad guy, but here he basically has to rescue her from herself. There's a lot of blood in here, a lot of violence, a lot of verbal abuse too, not a lot of suspense, but that's fine for the reasons I listed earlier. It's not a film where you (want to) guess who did it. And a lot of fire too, especially towards the end, which explains the movie's title. I give it a thumbs-up overall and recommend checking it out.
These 90 minutes are the tale of a young woman who accidentally ends up witnessing the murder of a prostitute and not much later the killer is after her as well as he wants to make sure the witness is dead and cannot identify him later. The film also moves to the upper class as we find out the killer is far from being a homeless crook or anything. The one thing he did not expect though were the excellent fighting skills of the central character as he is about to set her on fire near the very end. Add to that a touch family drama involving the protagonist (the little girl, the parents etc.) and a slightly underdeveloped cop story (about Moretti helping the woman) and you have a fairly convincing crime movie as we do here. Then again with Ruzowitzky's previous achievements, one cannot be surprised this turned out well. For him, it is a bit of back to the roots as the movie (including the graphic violence and scary atmosphere) has some parallels to Anatomie, even if the subject is of course entirely different. Schurawlow does a good job and is able to carry the film nicely. Her looks aren't hurting either. Only when the film turns a bit into the powerful woman / emancipation movie, for example the Gpd/penis reference towards the end, it gets a bit weaker. But I liked several aspects of it nonetheless. For example that it is not really important who exactly the killer is as it is always more about the big picture and he is just means to make this a more exciting watch really. His identity is secondary. Or the rescue scene at the very end where in a generic film (i.e. a Tatort) Moretti's character would have rescued her the last second from the bad guy, but here he basically has to rescue her from herself. There's a lot of blood in here, a lot of violence, a lot of verbal abuse too, not a lot of suspense, but that's fine for the reasons I listed earlier. It's not a film where you (want to) guess who did it. And a lot of fire too, especially towards the end, which explains the movie's title. I give it a thumbs-up overall and recommend checking it out.
Another Day of the Woman
thesar-226 March 2018
You better damn well tip this Taxi Driver.
I love kick-ass women who can surely kick any ass, but this one...such depth, so much history and so little words, she is the ultimate antihero hero. I loved her.
Get your blenders on, this movie is all parts: Death Wish, The Transporter, I Spit on Your Grave, The Bourne Identity, Rear Window, The Girl with the Dragon Tattoo and Taxi Driver, just to name a few. But, don't worry; the film just borrows from them. The real story is: the Fantastic Not-Angelina Jolie.
There is a central plot thread, but it's almost overshadowed by the lives and drama of Not-Angelina Jolie. The basic story: troubled loner (with very good reasons) witnesses a brutal murder from her bathroom window. That would be bad enough, but the killer surely sees her see him and the threat is on. Almost comically - but really, sadly, she spends a good chunk of the film trying to crash at someone else's place over and over only to remember why she didn't involve herself with these people since they previously wronged her.
With no one to help her and the killer stalking her, she's pretty much on her own. I wouldn't worry too much, though. Not-Angelina Jolie can seriously mess you up.
She's not Supergirl. She's absolutely human even though she's got a pretty good shield: drive. What she's been through in her life - and you'll learn pretty much all of it from extremely clever writing and the show/don't tell acting and scenes - nine out of ten people couldn't handle. This makes her thoroughly interesting and captivating.
Now, it does help that through a lot of the drama here, there's some awesome action scenes and an incredibly satisfying final act. Contrary, some of the slower and definitely predictable scenes do muddy the waters. Mercifully, they don't linger on too long and we get back to the character worth watching the whole movie for: Not-Angelina Jolie, of course.
***
Final thoughts: I love extremely strong characters in cinema, namely smart female leads with the odds stacked against them and their fists/wits prevail. So much so, I constantly give passes to other flaws, plot-holes or clichés in the films they're in. So, know this: Cold Hell isn't perfect. It does have one unintentionally hilarious "Oh, that's where he is!" revelation that I wouldn't knocked down the movie more so, but damn, they did correct themselves almost instantly and all is forgiven.
I love kick-ass women who can surely kick any ass, but this one...such depth, so much history and so little words, she is the ultimate antihero hero. I loved her.
Get your blenders on, this movie is all parts: Death Wish, The Transporter, I Spit on Your Grave, The Bourne Identity, Rear Window, The Girl with the Dragon Tattoo and Taxi Driver, just to name a few. But, don't worry; the film just borrows from them. The real story is: the Fantastic Not-Angelina Jolie.
There is a central plot thread, but it's almost overshadowed by the lives and drama of Not-Angelina Jolie. The basic story: troubled loner (with very good reasons) witnesses a brutal murder from her bathroom window. That would be bad enough, but the killer surely sees her see him and the threat is on. Almost comically - but really, sadly, she spends a good chunk of the film trying to crash at someone else's place over and over only to remember why she didn't involve herself with these people since they previously wronged her.
With no one to help her and the killer stalking her, she's pretty much on her own. I wouldn't worry too much, though. Not-Angelina Jolie can seriously mess you up.
She's not Supergirl. She's absolutely human even though she's got a pretty good shield: drive. What she's been through in her life - and you'll learn pretty much all of it from extremely clever writing and the show/don't tell acting and scenes - nine out of ten people couldn't handle. This makes her thoroughly interesting and captivating.
Now, it does help that through a lot of the drama here, there's some awesome action scenes and an incredibly satisfying final act. Contrary, some of the slower and definitely predictable scenes do muddy the waters. Mercifully, they don't linger on too long and we get back to the character worth watching the whole movie for: Not-Angelina Jolie, of course.
***
Final thoughts: I love extremely strong characters in cinema, namely smart female leads with the odds stacked against them and their fists/wits prevail. So much so, I constantly give passes to other flaws, plot-holes or clichés in the films they're in. So, know this: Cold Hell isn't perfect. It does have one unintentionally hilarious "Oh, that's where he is!" revelation that I wouldn't knocked down the movie more so, but damn, they did correct themselves almost instantly and all is forgiven.
Euro Trash
kosmasp19 October 2017
And I mean that in the nicest sense possible. Really I do! Of course if you feel that is an insult, you probably don't like movies like that. Sleazy thrillers, made a couple of decades ago. They were very successful and had charm to them. Very comparable to this one, which has flaws in many departments and you could argue that the characters are not all around likable (especially the police man who gets drawn into the center of it all).
Still this is very empowering to women, even when it doesn't look like it at the beginning. There's still nudity and action and gore and all that. But there's also a lot of humor in it. Of course not everyone will find the same things funny, but the movie does not take prisoners and goes some extra miles ... even when introducing characters and giving us a "father-figure" who almost feels out of place in this. So again, it is messy and it is far from perfect ... but that is what makes it so enticing.
Still this is very empowering to women, even when it doesn't look like it at the beginning. There's still nudity and action and gore and all that. But there's also a lot of humor in it. Of course not everyone will find the same things funny, but the movie does not take prisoners and goes some extra miles ... even when introducing characters and giving us a "father-figure" who almost feels out of place in this. So again, it is messy and it is far from perfect ... but that is what makes it so enticing.
She'll kill him.
Pjtaylor-96-13804425 August 2021
After witnessing a brutal murder, a woman finds herself targeted by a misogynistic serial killer who uses his religion as an excuse to butcher women. 'Cold Hell (2017)' is a gritty neo-noir thriller clearly inspired by works such as 'Taxi Driver (1976)', especially in its bluesy score. It's downbeat and gritty, though it does have moments of levity sprinkled throughout, and it deals with some tough subject matter in a compelling way. The lead character is especially stoic but you're always on her side, even when she makes some questionable decisions, and her dark past is revealed to us slowly but surely over the course of the narrative. Her typically unspoken backstory gives good reason for her to be as guarded as she is, adding a layer of subtext to the closed-off performance by a consistently good, if not flashy, Violetta Schurawlow. There are several well-choreographed fights and chases that have an appropriate amount of weight to them, with the violence typically being brutal and crunchy. It gets you on the edge of your seat on more than one occasion. Often, you can't help but get a little giddy, I suppose, when the protagonist is bashing a bad guy's head in; it's not fun violence, don't get me wrong, but it's good to see the often battered lead finally get her own back. One thing that is good about the piece is the fact that the hero knows how to handle herself right from the off, yet is still fallible to the same mistakes anyone would make if being hunted by a monstrous killer. Just because she knows how to fight doesn't mean she isn't scared of the concept of someone trying to end her life. It's a fine-tuned dynamic that undeniably adds believability to the plot. The picture, of course, isn't perfect. It is rather slow and, even, somewhat repetitive in its mid-section, almost becoming a different type of film to what you'd expect. This isn't too detrimental, since the thing is always entertaining and engaging, but it does lose a little bit of steam before it picks up the pace again for its final act. Still, the flick is effective overall. It's a solid thriller that easily keeps you watching from beginning to end. 7/10.
Badass woman
tashelby15 March 2018
A SOLID ONE TIME WATCH, ACTION THRILLER MOVIE
gangeshgnair22 October 2022
Ozge, a young Turkish born taxi driver, who is also a Thai boxer. She keeps to herself mostly. One day she witnesses a murder and also the one who is responsible for it. The events that takes place after this is the basic plot of the movie.
The movies main positive is the lead actress violetta schurawlow. She is just amazing. We can see the anger, fear, intensity, just everything in her performance. You can just watch this movie for her performance. The action sequences were really good, especially the one in the metro train. The cinematography, the sound design and all the other aspects were good. The writing was really good in some places, the thrilling elements worked really nicely. I loved the sequences towards the climax very much.
The only issue i had with the movie is, i felt we could have spent a little more time with the character before the inciting incident. Rather we get to know the character more after the inciting incident, which makes the movie little slow in few places.
The movie is a solid one time watch. Give it a try if you love action thriller movies.
The movies main positive is the lead actress violetta schurawlow. She is just amazing. We can see the anger, fear, intensity, just everything in her performance. You can just watch this movie for her performance. The action sequences were really good, especially the one in the metro train. The cinematography, the sound design and all the other aspects were good. The writing was really good in some places, the thrilling elements worked really nicely. I loved the sequences towards the climax very much.
The only issue i had with the movie is, i felt we could have spent a little more time with the character before the inciting incident. Rather we get to know the character more after the inciting incident, which makes the movie little slow in few places.
The movie is a solid one time watch. Give it a try if you love action thriller movies.
This movie grows on you
proartdirector3 December 2022
This is no Ben Hur or Lawrence of Arabia but I find myself watching this movie again and again when I don't know what I want to watch that night. I believe I must have watched it 10 times already and I know that I'll still watch it again. Based on this phenomenon alone, I have raised my rating to 9. The editing is quite good too and the art direction is well planned especially the colours. The main characters are not perfect but they both have guts and a softer, finer side. The more I watch this movie, the more I realize that I'm drawn to the characters' authentic personalities and the chemistry between them. They don't fit the Hollywood "handsome" or "gorgeous" moulds but I find them attractive and charismatic. And what can I say, I just love movies where the women can fight back!
stylish, but seriously violent and grim
myriamlenys13 August 2019
Warning: Spoilers
After a difficult childhood, a young woman with an immigrant background has grown into a distrustful loner. Her job does not improve her general outlook on life : as a taxi driver in a busy city, she meets more than her share of drunks, vandals, bores. Worse is yet to come. Purely by accident, she crosses paths with a dangerous lunatic who uses his twisted religious beliefs in order to torture and kill prostitutes...
Now this is a VERY violent thriller. Both the subject matter and the tone are grim, to the point of exaggeration ; for instance, the poor female protagonist seems to find herself at the receiving end of one injustice or threat after another. A better balance of light and shade might have done wonders here. "Die Hölle" also suffers from a lack of realism in the medical department. It is one of those thrillers where characters run/walk/crawl away from accidents and beatings sure to send someone to an intensive care ward, not for the next week but for the next five years or so.
I recommend the movie mainly for the fine performance by lead actress Violetta Schurawlow and for the breath-taking stuntwork. If you, dear reader, like well-choreographed fights, pursuits and car chases, you'll be sure to whistle with admiration.
Anyway, the title ("Hell" or "The Hell") is well chosen. We humans do not know if an afterlife exists and if so, what it contains ; but it is a fact as large as a house that some humans treat their fellow humans with atrocious cruelty. It is also a fact that many of these killers and torturers point to some sacred text which is supposed to turn them into warriors for light...
Now this is a VERY violent thriller. Both the subject matter and the tone are grim, to the point of exaggeration ; for instance, the poor female protagonist seems to find herself at the receiving end of one injustice or threat after another. A better balance of light and shade might have done wonders here. "Die Hölle" also suffers from a lack of realism in the medical department. It is one of those thrillers where characters run/walk/crawl away from accidents and beatings sure to send someone to an intensive care ward, not for the next week but for the next five years or so.
I recommend the movie mainly for the fine performance by lead actress Violetta Schurawlow and for the breath-taking stuntwork. If you, dear reader, like well-choreographed fights, pursuits and car chases, you'll be sure to whistle with admiration.
Anyway, the title ("Hell" or "The Hell") is well chosen. We humans do not know if an afterlife exists and if so, what it contains ; but it is a fact as large as a house that some humans treat their fellow humans with atrocious cruelty. It is also a fact that many of these killers and torturers point to some sacred text which is supposed to turn them into warriors for light...
Almost Good
billcr1224 December 2021
The lead actress is very good but the material is not up to her performance. Prostitutes are being killed by a serial killer and a taxi driver/mixed martial arts fighter is the next target. It seems that Muslim women are the victims and she must fight back against him. The action scenes are silly and the ending a letdown. Barely worth a view.
Amazing neo-noir/action thriller throwback!
zachengel-934448 July 2018
This film was phenomenal! Everything about it was just fantastic. The acting was superb, the cinematography was beautiful, the characters were well-written and multidimensional, and the action and suspense set pieces were masterfully done. Overall a very well done film!
A Gritty and Intense Thriller with a Compelling Lead
marshall-stanton16 April 2023
Directed by Stefan Ruzowitzky, "Cold Hell" is a 2017 Austrian horror movie that follows the story of Özge (Violetta Schurawlow), a young Turkish taxi driver who witnesses a brutal murder. As the killer begins to target Özge, she must use her wits and skills to stay alive.
The movie benefits from Schurawlow's strong performance as Özge, who is a compelling and complex protagonist. The supporting cast is also solid, with memorable performances by Tobias Moretti and Robert Palfrader. The movie's use of Vienna as a backdrop adds to the gritty and atmospheric feel of the film.
What sets "Cold Hell" apart from other horror movies is its focus on action and suspense. The movie features some well-choreographed fight scenes that are intense and visceral. The pacing is brisk, with the movie never letting up on the tension and thrills.
The movie's use of violence is not for the faint of heart, with some graphic and brutal moments that may be difficult for some viewers to watch. However, the violence is never gratuitous and serves to further the plot and develop the characters.
While "Cold Hell" is a solid thriller, it does have some flaws. The movie's plot is somewhat predictable, with few surprises along the way. The movie also struggles to balance its horror and action elements, with the horror taking a backseat to the action in the latter half of the film.
Overall, "Cold Hell" is a gritty and intense thriller that is sure to satisfy fans of the genre. While it may not be groundbreaking, it features a compelling lead performance and some well-executed action scenes. For those looking for a fast-paced and violent thriller, "Cold Hell" is definitely worth a watch. Rating: 6/10 stars.
The movie benefits from Schurawlow's strong performance as Özge, who is a compelling and complex protagonist. The supporting cast is also solid, with memorable performances by Tobias Moretti and Robert Palfrader. The movie's use of Vienna as a backdrop adds to the gritty and atmospheric feel of the film.
What sets "Cold Hell" apart from other horror movies is its focus on action and suspense. The movie features some well-choreographed fight scenes that are intense and visceral. The pacing is brisk, with the movie never letting up on the tension and thrills.
The movie's use of violence is not for the faint of heart, with some graphic and brutal moments that may be difficult for some viewers to watch. However, the violence is never gratuitous and serves to further the plot and develop the characters.
While "Cold Hell" is a solid thriller, it does have some flaws. The movie's plot is somewhat predictable, with few surprises along the way. The movie also struggles to balance its horror and action elements, with the horror taking a backseat to the action in the latter half of the film.
Overall, "Cold Hell" is a gritty and intense thriller that is sure to satisfy fans of the genre. While it may not be groundbreaking, it features a compelling lead performance and some well-executed action scenes. For those looking for a fast-paced and violent thriller, "Cold Hell" is definitely worth a watch. Rating: 6/10 stars.
"Chilling Depths: A Riveting Journey into 'Cold Hell'"
tjstins12 October 2023
"Cold Hell" is an impressive German film released in 2017. The lead character's performance is simply outstanding. Right from the beginning, you can't help but empathize with her, but as the story progresses, she becomes someone you can't help but dislike. It's a realistic portrayal of a person with a troubled past, as often happens in real life, where people tend to push others away and reject help. However, despite its strengths, the movie could have benefited from more suspense and a stronger antagonist to heighten the overall experience.
The film effectively captures the audience's attention with its engaging storyline and the exceptional acting prowess of the main character. From the very start, we are drawn into her world, feeling a deep sense of empathy for the challenges she faces. As the narrative unfolds, we witness her transformation into a character we find it hard to root for. This evolution is a testament to the actress's remarkable talent in portraying complex emotions and internal conflicts.
"Cold Hell" does a commendable job in shedding light on the harsh realities of life, particularly when it comes to individuals who have endured difficult circumstances. The film authentically portrays the tendency of some people to reject assistance and further isolate themselves, even when presented with opportunities to make positive choices. This portrayal adds depth and relatability to the story, allowing viewers to reflect on the complexities of human behavior and the consequences of personal history.
While "Cold Hell" excels in its character development and exploration of real-life struggles, it falls slightly short in terms of suspense and the strength of its antagonist. Though the film keeps you engaged, it could have benefited from a more palpable sense of tension and anticipation throughout. Additionally, a more formidable and memorable killer would have enhanced the overall impact of the story. By intensifying these elements, the movie could have provided a more gripping and thrilling experience for the audience.
Overall, "Cold Hell" is a solid German film that delivers powerful performances and delves into the intricacies of human nature. It effectively portrays the complexities of a character shaped by a difficult past and the repercussions of her choices. While it could have offered more suspense and a stronger antagonist, the film still manages to captivate viewers with its emotional depth and thought-provoking themes.
The film effectively captures the audience's attention with its engaging storyline and the exceptional acting prowess of the main character. From the very start, we are drawn into her world, feeling a deep sense of empathy for the challenges she faces. As the narrative unfolds, we witness her transformation into a character we find it hard to root for. This evolution is a testament to the actress's remarkable talent in portraying complex emotions and internal conflicts.
"Cold Hell" does a commendable job in shedding light on the harsh realities of life, particularly when it comes to individuals who have endured difficult circumstances. The film authentically portrays the tendency of some people to reject assistance and further isolate themselves, even when presented with opportunities to make positive choices. This portrayal adds depth and relatability to the story, allowing viewers to reflect on the complexities of human behavior and the consequences of personal history.
While "Cold Hell" excels in its character development and exploration of real-life struggles, it falls slightly short in terms of suspense and the strength of its antagonist. Though the film keeps you engaged, it could have benefited from a more palpable sense of tension and anticipation throughout. Additionally, a more formidable and memorable killer would have enhanced the overall impact of the story. By intensifying these elements, the movie could have provided a more gripping and thrilling experience for the audience.
Overall, "Cold Hell" is a solid German film that delivers powerful performances and delves into the intricacies of human nature. It effectively portrays the complexities of a character shaped by a difficult past and the repercussions of her choices. While it could have offered more suspense and a stronger antagonist, the film still manages to captivate viewers with its emotional depth and thought-provoking themes.
Cold Hell
BandSAboutMovies30 January 2024
Warning: Spoilers
Directed by Stefan Ruzowitzky and written by Martin Ambrosch and Claudia Kolland, Cold Hell is about a cab driver named Özge Dogruol (Violetta Schurawlow), who deals with the worst in humanity as she drives the of Vienna every day. She comes across a crime scene and thinks that she's been spotted by the killer but the police think she hasn't found anything and is in no danger.
Özge is a character that is anything but a stereotype. She's Muslim, she's a Muay Thai fighter in training and she has no problem either knocking men out who are abusive to her or running after the killer to try and catch whoever they are.
Her cousin Ranya (Verena Altenberger) is dating, even though she's married to Özge's boss Samir (Robert Palfrader) and depends on Özge to cover up her affairs. She also borrows the Muay Thai championship jacket that our heroine wears, which has the killer come after her and snuff her out, which adds a layer of guilt to the reasons why Özge need to find that smiling knife murderer who is also a radical religion believer who is killing Muslim sex workers based on how the Koran speaks of Hell.
Not only is Özge an outsider in this new country, she is in her family as well. They've never believed that her father molester her and now that Ranya's young daughter will be raised in their house, she takes her away even though she's been trailed by a giallo-style killer. To protect herself, she moves herself in to the home of a burned out cop, Christian Steiner (Tobias Moretti), who is taking care of his father Karl (Friedrich von Thun) who has dementia.
I really enjoyed Cold Hell - it refers to the icy netherworld of Islamic religion - and how it was never an expected story or had a lead you can easily pin down.
Özge is a character that is anything but a stereotype. She's Muslim, she's a Muay Thai fighter in training and she has no problem either knocking men out who are abusive to her or running after the killer to try and catch whoever they are.
Her cousin Ranya (Verena Altenberger) is dating, even though she's married to Özge's boss Samir (Robert Palfrader) and depends on Özge to cover up her affairs. She also borrows the Muay Thai championship jacket that our heroine wears, which has the killer come after her and snuff her out, which adds a layer of guilt to the reasons why Özge need to find that smiling knife murderer who is also a radical religion believer who is killing Muslim sex workers based on how the Koran speaks of Hell.
Not only is Özge an outsider in this new country, she is in her family as well. They've never believed that her father molester her and now that Ranya's young daughter will be raised in their house, she takes her away even though she's been trailed by a giallo-style killer. To protect herself, she moves herself in to the home of a burned out cop, Christian Steiner (Tobias Moretti), who is taking care of his father Karl (Friedrich von Thun) who has dementia.
I really enjoyed Cold Hell - it refers to the icy netherworld of Islamic religion - and how it was never an expected story or had a lead you can easily pin down.
Could have been great
ayesha_lea11 March 2024
The movie was good but the main character is just so annoying. She never speaks, never answers anyone, is surly as heck, and just very frustrating in all ways. Besides her character being unpleasant the premise acting directing was all good. Unsure why she was made so unlikeable. Interesting commentary on racism, religious discrimination, dysfunctional families, women trying to take their power back in a patriachal society. Every character has a messed up family, which is probably overstating the problem... or maybe not. Good watch despite the character letting it down somewhat. Worth the watch.
Excellent straightforward small-scale actioner
IndustriousAngel26 January 2017
Warning: Spoilers
The heroine Özge (Violetta Schurawlow), Turkish-born but living in Vienna, becomes witness to the latest atrocity committed by an international serial killer - now she's next on his list, but she's far from a helpless victim: Besides driving a night taxi (tough job in itself) she's also an accomplished kick-boxer. Her male counterpart in the hunt for the killer is detective Steiner (veteran Tobias Moretti), first reluctant but helpful once he realises the killer really is after Özge. Which doesn't mean the police are any good at all, this being a stalking / female revenge thriller and not a cop one.
"Die Hölle" shines first and foremost through excellent atmosphere and a beautiful rhythm and pace - it starts with two to three bangs so we know it's serious and bloody, then takes itself back to introduce the characters, then there's a first series of bloody scenes - after that a few relaxed minutes with some gentle laughs and even a budding romance, before we get to the bloody and drawn-out showdown. Overall, a very straightforward, fast-paced thriller without any detours.
The urgency of the plot gets fortified by the neat trick of over-straining both Özge and Steiner with family handicaps - he's burdened by (and living with) his demented father, she has to look after her murdered cousin's toddler (really sweet girl, that) because her own parents aren't any good. It also helps that Özge is excellently cast, Violetta Schurawlow has that hard, tough look which carries most of the scenes without many words. Also excellent: make-up and effects. Look for the scene where Özge, having barely survived her first meeting with the killer, stands in front of a mirror and decides to kill him.
Is there something not to like? The camera always stays very close to the protagonists - obviously an intended decision on Ruzowitzky's part but it means that we get very little orientation and much blur during the chase scenes. The romance angle seemed a bit forced; thankfully it stays marginal. Otherwise, I find no faults with "Die Hölle", it even feels a lot less contrived than most thrillers. Highly recommended!
"Die Hölle" shines first and foremost through excellent atmosphere and a beautiful rhythm and pace - it starts with two to three bangs so we know it's serious and bloody, then takes itself back to introduce the characters, then there's a first series of bloody scenes - after that a few relaxed minutes with some gentle laughs and even a budding romance, before we get to the bloody and drawn-out showdown. Overall, a very straightforward, fast-paced thriller without any detours.
The urgency of the plot gets fortified by the neat trick of over-straining both Özge and Steiner with family handicaps - he's burdened by (and living with) his demented father, she has to look after her murdered cousin's toddler (really sweet girl, that) because her own parents aren't any good. It also helps that Özge is excellently cast, Violetta Schurawlow has that hard, tough look which carries most of the scenes without many words. Also excellent: make-up and effects. Look for the scene where Özge, having barely survived her first meeting with the killer, stands in front of a mirror and decides to kill him.
Is there something not to like? The camera always stays very close to the protagonists - obviously an intended decision on Ruzowitzky's part but it means that we get very little orientation and much blur during the chase scenes. The romance angle seemed a bit forced; thankfully it stays marginal. Otherwise, I find no faults with "Die Hölle", it even feels a lot less contrived than most thrillers. Highly recommended!
A decent, gritty drama!
gabrielmillsom3 February 2021
I suspect the more perceptive viewer might suggest that this was not just a good action flick, but a comment on misogyny and prejudice. That aside, I thought this was a decent, gritty drama with a thrilling plot. The villain's sadistic tendencies make him a thoroughly hateful character, whilst the protagonist is flawed but admirable. Recommended.
Gabriel Millsom
Gabriel Millsom
Surprise package.
lost-in-limbo24 May 2018
Probably the surprise package of the film festival I attended, and it was originally at the bottom of my list to see. A gut-punching, and slickly crafted German/Austrian serial-killer crossed neo-noir thriller with ingrained giallo cues, religious motivations, political red tape, telling social/cultural themes and a no-holds-barred, headstrong central performance from the excellent Violetta Schurawlow as a Turkish immigrant, Özge, trying to make a life for herself in her adoptive Vienna.
She's a quiet, stubborn individual who works a taxi driver, attends evening classes and puts in the hard work training as a Thai-boxer. Don't get on her bad side, as she takes no bull from anyone and she'll let you know what real pain is! Also battling through persistent racism and sexism, the latter, includes from her own family. She shuts herself away, only really confiding with her similar aged cousin and young daughter. One night after returning home after a bruising session, looking out the window she discovers a dead body in the neighboring building. The killer, standing in the shadows, sees her and is convinced she has seen him too. This begins a life-and-death strugggle between the two, as the killer goes about trying to rid his witness unbeknown to him she can't identify him. Özge feels like she's all alone, but she won't go down without a fight and finds unexpected solace with the investigative detective.
When it came to the thrilling action scenes, from the vicious fight choreography through to the destructive vehicle chases/and stunts... what a rush! I was clenching my teeth, because of just how aggressive and brutal the carnage can be. When the focus centred on the cat-and-mouse element; talk about vigorous... like the first encounter in the taxi car. How it was edited and photographed; full of energy and verve without messily overdoing it, made it hard not to get swept up in it. The direction, camerawork along with Schurawlow's pyshical commitment really do make these scenes click.
The drama comes on large, as we start to see Ozge's character beats, especially her aloof nature around people and generally her own family. Things are hinted - deeper issues, but never really discussed, especially her toxic relationship with her father. But here, actions speak a lot more than words. As for the serial killer, he's archetypically portrayed as a deranged, but strategic killer targeting Muslim hookers. Other than that, which we learn from the detectives, little else is known. We only see him when he's about to attack someone (namely Özge) and this time he underestimated his next target.
I do find the first half to be gripping, but by the midway point the killer goes MIA and procedural groundwork falls to the background. There the story becomes loose and it begins the lull in its formulaic script. In particular when the narrative shifts to the melodramatic, even humorous interactions between the lead detective and Özge, as she seeks shelter under his roof along with his dementa affected father. At this stage of the story, it does display some candid laughs and touching moments, by presenting two very broken individuals hiding behind thick skins. Both not wanting to back down on their stance, but eventually the walls come down and respect it gained.
So by the third act, it turns it up a notch, ridiculously so and the hustle returns. The police finally come face-to-face with their prime suspect, and things go from bad to worse putting loved ones in a dangerous predicament. Just means the director wants to take you on another ride. So when it wants to thrill you, like before, it hits you like a tonne of bricks. What happens at the backend might be predictably written and stretching creditability, after a sobering drop in pace. Nonetheless we want to see Özge bust up this radical fanatic, no matter how over-the-top, and the suspenseful climax delivers on the promise.
She's a quiet, stubborn individual who works a taxi driver, attends evening classes and puts in the hard work training as a Thai-boxer. Don't get on her bad side, as she takes no bull from anyone and she'll let you know what real pain is! Also battling through persistent racism and sexism, the latter, includes from her own family. She shuts herself away, only really confiding with her similar aged cousin and young daughter. One night after returning home after a bruising session, looking out the window she discovers a dead body in the neighboring building. The killer, standing in the shadows, sees her and is convinced she has seen him too. This begins a life-and-death strugggle between the two, as the killer goes about trying to rid his witness unbeknown to him she can't identify him. Özge feels like she's all alone, but she won't go down without a fight and finds unexpected solace with the investigative detective.
When it came to the thrilling action scenes, from the vicious fight choreography through to the destructive vehicle chases/and stunts... what a rush! I was clenching my teeth, because of just how aggressive and brutal the carnage can be. When the focus centred on the cat-and-mouse element; talk about vigorous... like the first encounter in the taxi car. How it was edited and photographed; full of energy and verve without messily overdoing it, made it hard not to get swept up in it. The direction, camerawork along with Schurawlow's pyshical commitment really do make these scenes click.
The drama comes on large, as we start to see Ozge's character beats, especially her aloof nature around people and generally her own family. Things are hinted - deeper issues, but never really discussed, especially her toxic relationship with her father. But here, actions speak a lot more than words. As for the serial killer, he's archetypically portrayed as a deranged, but strategic killer targeting Muslim hookers. Other than that, which we learn from the detectives, little else is known. We only see him when he's about to attack someone (namely Özge) and this time he underestimated his next target.
I do find the first half to be gripping, but by the midway point the killer goes MIA and procedural groundwork falls to the background. There the story becomes loose and it begins the lull in its formulaic script. In particular when the narrative shifts to the melodramatic, even humorous interactions between the lead detective and Özge, as she seeks shelter under his roof along with his dementa affected father. At this stage of the story, it does display some candid laughs and touching moments, by presenting two very broken individuals hiding behind thick skins. Both not wanting to back down on their stance, but eventually the walls come down and respect it gained.
So by the third act, it turns it up a notch, ridiculously so and the hustle returns. The police finally come face-to-face with their prime suspect, and things go from bad to worse putting loved ones in a dangerous predicament. Just means the director wants to take you on another ride. So when it wants to thrill you, like before, it hits you like a tonne of bricks. What happens at the backend might be predictably written and stretching creditability, after a sobering drop in pace. Nonetheless we want to see Özge bust up this radical fanatic, no matter how over-the-top, and the suspenseful climax delivers on the promise.
A very good thriller.
krzysiektom9 February 2021
Cool neo noir stuff
karsten-2857112 August 2019
Cold Heaven.
morrison-dylan-fan10 April 2020
Warning: Spoilers
A few years ago I read Kim Newman's Video Dungeon page in UK movie magazine Empire,and saw him praise a exciting-sounding Thriller. Attempting to find it,I was disappointed to not being ablw to find it either online or on disc.
Years later:
Signing up for free 30 days of Shudder,I checked their exclusive page, and with the title having been on my "want to see" for years,I was shocked to see it pop up! Leading to me at last entering the cold hell.
View on the film:
In the cab with Ozge picking up late night fares, director Stefan Ruzowitzky reunites with cinematographer Benedict Neuenfels and ticket a blazing Neo-Noir atmosphere of splintered lines of blue and yellow cast across Ozge's cab as she kicks back for survival.
Pounding a sneering guy in a cage who laughs her off as being a weak woman, Ruzowitzky puts this hell on deep freeze by brilliantly taking inspiration from the chill of the Nordic Noir genre, striking the outbursts of violence with a unflinching short, blunt force,which is unleashed with delicately positioned angles eyeing the assumption cops and a serial killer make of Ozge being small and weak.
Taking every hard knock the city gives, Ruzowitzky peels off a stripped stylisation, dressing loner Punk Ozge in suffocating darkness blocking all others from her, which Ruzowitzky holds round Ozge in thrilling long on the street tracking shots slamming Ozge and the serial killer together. Following Ruzowitzky's Nordic Noir- inspired direction, the screenplay by Martin Ambrosch hits a excellent character study of Punk Noir loner Ozge, displaying the abusive family background which has left her bare, the lingering aftermath of which gives Ozge a hard skin when facing the killer.
Sitting alone seeing each passenger come and go from her taxi, Violetta Schurawlow gives a spectacular performance as Ozge. Left bruised by her family,Schurawlow shows the marks under the skin of Ozge with a withdrawn body language fragility from anyone who tries to crack the aggressive, cynical shell Ozge puts herself in as she enters a cold hell.
Years later:
Signing up for free 30 days of Shudder,I checked their exclusive page, and with the title having been on my "want to see" for years,I was shocked to see it pop up! Leading to me at last entering the cold hell.
View on the film:
In the cab with Ozge picking up late night fares, director Stefan Ruzowitzky reunites with cinematographer Benedict Neuenfels and ticket a blazing Neo-Noir atmosphere of splintered lines of blue and yellow cast across Ozge's cab as she kicks back for survival.
Pounding a sneering guy in a cage who laughs her off as being a weak woman, Ruzowitzky puts this hell on deep freeze by brilliantly taking inspiration from the chill of the Nordic Noir genre, striking the outbursts of violence with a unflinching short, blunt force,which is unleashed with delicately positioned angles eyeing the assumption cops and a serial killer make of Ozge being small and weak.
Taking every hard knock the city gives, Ruzowitzky peels off a stripped stylisation, dressing loner Punk Ozge in suffocating darkness blocking all others from her, which Ruzowitzky holds round Ozge in thrilling long on the street tracking shots slamming Ozge and the serial killer together. Following Ruzowitzky's Nordic Noir- inspired direction, the screenplay by Martin Ambrosch hits a excellent character study of Punk Noir loner Ozge, displaying the abusive family background which has left her bare, the lingering aftermath of which gives Ozge a hard skin when facing the killer.
Sitting alone seeing each passenger come and go from her taxi, Violetta Schurawlow gives a spectacular performance as Ozge. Left bruised by her family,Schurawlow shows the marks under the skin of Ozge with a withdrawn body language fragility from anyone who tries to crack the aggressive, cynical shell Ozge puts herself in as she enters a cold hell.
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