The concise British film “Hallow Road” (Universal), showing now at the Montrose Playhouse, is the second psychological-thriller to be released this month. A few days ago, “The Surfer” went all-in, betting on the prizewinning hand of Nicholas Cage. This week’s movie showcases the effects of spiralling fear on the faces of two talented actors, Rosamund Pike and Matthew Rhys.
A middle-aged couple (Maddie and Frank) with a single child, university-student daughter Alice, are not entirely honest with each other. Late one night after an argument, Alice has stolen dad’s car and run away to (or is it from?) her boyfriend’s flat through a dense wood. At first, her parents are the ones frantically trying to contact her to find out where she is, but then, abruptly interrupting the flow like the sound of the low-battery alarm in the background to the scene, it is Alice who is desperate for the phone to be answered. Speeding through the wood in the pitch black, Alice didn’t notice a girl unexpectedly shoot into the road from the trees to the side, and ran her over. Her parents dash off (in their second car) to Alice’s current GPS-determined location, paramedic-mum talking Alice through CPR en route while waiting for an ambulance. Revealing any more of the plot would be unfair, but, of course, there is deception and there are twists, and keeping up with it all is hugely satisfying, as is usual with the whole class of psychological-thrillers. Other than the parents, the characters are voice-only, transmitted via speakerphone into the second car as it is being driven to Alice’s rescue. As such, all of the action takes place between the two adults in the front seats of this car.
This has been done before in the U.K.. In “Locke” (2013), Tom Hardy unravels while driving an expensive car at night taking increasingly troubling telephone calls. At the time, this was quite original; it certainly puts a lot of pressure on one actor. 12 years later, “Hallow Road” needs to offer something new, otherwise it risks being dismissed as a copycat.
One very good reason to come to the Playhouse to see “Hallow Road” is that the production design is so dark. At home, blackout-style curtains and a very large television would be needed to be able to see the action in the car, which is essentially only lit by the screen of the smartphone. This darkness creates a tight, suffocating space—we can only see the faces of the stars, not their bodies. The filmmakers deftly visualise the necessary spookiness for the about-turns to land with the audience, and to tell a horror story (as if taking us along on a camping trip).
As the agitation builds, the arguments between Maddie and Frank in the car need to be completely convincing, which they are. Both of them feel the need to provide stability and strength within the family. Dad ends up sounding desperate, trying to persuade himself over and over of his power as all the while their story is coming undone: “We have this under control.” “I’m the one solving the problem.” Mum flounders: “I don’t know how to fix this. I can’t fix it.” Mum also tends to jump to conclusions. Control, problem solving, fixing—these are the tools Maddie and Frank always use. They suppress what they find hard—emotional, vulnerable, honest communication. The precise language feels so genuine between them that I wondered whether the film’s preparation included listening to tape-recordings of couples in similar crisis situations. When a meticulous journalist takes a dictaphone along to an interview, to directly quote what was actually said rather than base their article on their memories, they are using exactly that process.
Megan McDonnell, playing Alice’s voice, gives a bold performance, using an extraordinary emotional range. Just listen to the manner in which she has recorded the voicemail message, and then compare this with the CPR scene, the evasive answers to her mother’s questions, the shock as it dawns on her that she might go to jail.
The car in the psychological-thriller is a device used to compact the story and enforce time-bound order. “Hallow Road” provides a masterclass on how to do this well. Ticking clock in the first scene (listen carefully: it’s to the half- not the full-second), the GPS counting down the time left to reach Alice, time to continue CPR, response-time for emergency services. What is also breathtaking is the second act introduction of a mystery female voice. The tension between Maddie and Frank in the claustrophobic enclosure (the car) has ratcheted up too far. We need cold water to be thrown on the situation. The acting during these critical few minutes is flawless. As the mystery voice sobers them up, the parents’ speech slows right down and drops back to a quarter of the previous volume, supported by background music which dramatically fades to nothing. And listen carefully for Matthew Rhys’ Welsh accent becoming stronger as his voice trembles.
Before the feature, there was a trailer for an upcoming movie that is widely expected to be a blockbuster. Three of the actors from the film spoke direct-to-camera with the message, “thank you for supporting your local cinema.” In plainer language, it’s tempting to wait for streaming but don’t. “Hallow Road” is appealing enough for a trip to the Playhouse, and the equal split between the two leads, and the voice of a third, shares responsibility for the project’s success: “We have to be the ones that fix this.”
Adam Poole
18 May 2025
If you are interested in viewing this screening, please book your tickets here
