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!