This first act mostly depicts Moretz inside the turret, and it’s with credit to her performance but also the film’s depiction of the claustrophobic space that the passage doesn’t feel inert sometimes, you even have to remind yourself that you haven't been seeing the men as much as you think. Though Liang cheats in a couple of instances to show what’s going on above (with stagey, dream-like imagery of red and green light), it’s a strong case of the scenario and precise dialogue letting our imagination fill in the blanks, and making us fitfully disgusted. The synth score by Mahuia Bridgman-Cooper sets the pulse from the very beginning, signaling that you should strap in for a movie of modern genre tastes, and not so much an accurate period piece.įrom here, “Shadow in the Cloud” slowly builds, at first like a theater piece about a woman surrounded by harassment, removed from the possibility of being able to physically stand up to them. Along with their crude comments, the men on board question her credibility and mission, though one voice from a guy named Quaid (Taylor John Smith) stands up for her against the others. The men act like dogs as soon as they realize they have a "dame" onboard-most of them scramble to objectify her on the radio-and she is designated to sit in the bottom turret, with the guys riding above. It’s a stoic Chloë Grace Moretz, with a British accent, and on assignment from a top secret mission. ![]() The year is 1943, and a woman named Maude Garrett walks on a foggy tarmac looking for an Allied war plane called “The Fool’s Errand,” before we get to see her face and her hear voice. But whether you find the film to be ambitious, or just some stunt screenwriting, it's intriguing to watch an audacious filmmaker try to keep midnight-ready movies unpredictable, even if that means a sincere but silly mash-up of WWII dogfights, gremlin chaos, and feminism in action such as this.īefore the parade of production company logos is even done, “Shadow in the Cloud” begins with a great mystery- why am I watching a WWII-era cartoon PSA about gremlins? Consider that Chekhov’s gremlin infomercial, accompanied by the next shots of the movie that show a revolver being packed away, and a suitcase with a sound hole being carried off. ![]() Roseanne Liang's “Shadow in the Cloud” is the type of genre movie that makes many of its bizarre choices just for the sake of seeing if it can all work.
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