![]() ![]() Blood Red Sky takes that idea and deepens it, turning vampirism into a metaphor for maternal instinct. Vampires are fun creatures to explore because they retain some intelligence, yet cannot help but follow their evil natures. Each time Thorwarth cuts away from the cabin is another place where he undermines the lunacy of its premise. There are several tedious flashbacks that tell the origin story of how Nadja becomes a vampire and comes to understand her nature, plus a frame narrative: Blood Red Sky begins with a flash-forward where we see the plane land on a military-controlled airfield, and the climax resolves that story. But he runs into trouble when he moves the story away from the hijacking. That’s a common technique for a film like this, since we need to know who to trust in a contained environment like an airplane. The solution to all this plot is for Thorwarth to rely on swift, easy characterization. There is bickering among the hijackers themselves because one of them ( Alexander Scheer) also happens to be a homicidal maniac. There is a subplot involving a passenger serving as a father-figure for Elias. That comes with its own problems, and soon enough the entire flight turns into an outbreak of fangs and supernatural bloodlust.Ī vampire on a plane is enough plot for one movie, so the hijacking is how Blood Red Sky ups the ante, and Thorwarth doesn’t stop there. As the hijackers threaten the crew and divert the flight, Nadja has no choice but to transform into a full-on monster, taking out the hijackers one by one. Little do they know, however, that Nadja’s malady is that she is a vampire, one who has mostly been able to keep her nature at bay. The hijackers include the crew and copilot, so they have no problem seizing control. Everything goes smoothly, more or less, until hijackers take over the flight. ![]() The purpose of the flight is a mysterious medical treatment, and indeed Nadja is on edge because of her undefined condition. ![]() Nadja ( Peri Baumeister) is about to board a transatlantic flight with Elias ( Carl Anton Koch), her precious moppet son. Still, in between all that bloat is a vicious movie that is willing to go berserk like its bizarre, tortured hero. There are so many storylines to resolve, plus an overabundance of backstory, that sometimes it unfolds as if Thorwarth is directing traffic instead of scaring us. Director and co-screenwriter Peter Thorwarth must know the premise is ridiculous, but to his credit, he attempts to take it seriously and play it out in ways that are both intriguing and intense. The premise for Blood Red Sky sounds like it was generated by Netflix’s recommendation algorithm-or a producer throwing darts at random plot elements from horror and thriller films. Whoops! There was an error and we couldn't process your subscription. ![]()
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