Good story, Not enough for a whole film

Clever, believable, and super fun to watch. It totally has replay value.

After playing with our expectations, this turns out to be a very different sort of film.

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Following the path started with DEADLINE, Massimo Coglitore, Sicilian director, debuted at Tao Film Fest, with THE ELEVATOR independent film produced by Riccaro Blacks. A courageous film, unusual, in English, with excellent acting, great photography and beautiful music, with which Coglitore likes to wink at genre cinema, the suspense. But here we are faced with a film that has its own life, its own soul, no reverence or blinking but only a film made impeccably. Coglitore lends conscientiously to THE ELEVATOR, a film that directs so beautiful and very personal from the technical point of view. Impossible not to be charmed by the basic colors of the photography, that icy green, unsaturated distinguishes the lift and that amazingly does not kill the color but enhances it in order to create the ideal setting in which the characters move to represent a hypothetical, violent chess game, a quiz here, based on primitive instincts. There are many themes, instinct for survival, power, revenge. Extraordinary and magnetic interpreters Caroline Goodall and James Parks where around them prevail only human ancestral impulses. A well-written film by Mauro Graiani and Riccardo Irrera, with a clipped role tailored to evergreen Burt Young. The lift of the film, a few square meters of pure claustrophobia, imprisons Jack Tramell famous American TV presenter, isolating it from the outside world. It 'clear charges of Coglitore the ills of modern society. Men tend to ghettoized, close in sophisticated prisons in which they themselves are the jailers, isolating themselves from the outside world, and the various issues. The woman burst into the comfortable life of the famous presenter, catapulting him on a journey into the unknown, where one misstep means risking their lives. different social realities, among them, but something links them, a thin wire, a terrible secret. Coglitore deftly changes the order of the game and reverses several times their parts, with a strong dramatic where violence - exploding at night in that elevator of an elegant New York -It seems to arm themselves in the hands and thoughts of everyone, without exception.

As a critic I indulge myself by scoffing at loopholes in thrillers that could not exist without them. I guess I'm seeking the ideal of a thriller existing entirely in a world of physical and psychological plausibility. "The elevator" is about as close as I'm likely to get. Yes, there are moments when I want to shout advice at the screen, but just as often the characters are ahead of me. They also ask the same questions I'm asking, of which the most heartfelt, in a thriller, is "why didn't we do that?" The movie, directed by Massimo Coglitore and written by Mauro Graiani and Riccardo Irrera, embraces realism almost as a challenge. The movie resembles a chess game; the board and all of the pieces are in full view, both sides know the rules, and the winner will simply be the better strategist. Once we sense "The elevator" isn't going to cheat, it gathers in tension, because the characters are operating out of their own resources, and that makes them the players, not the pawns. The shot combines physical and virtual camera moves, a reminder that Coglitore is a visual virtuoso. He's also a master of psychological gamesmanship.

The Elevator has superb lighting, an innovative use of cinematography in only a few locations and superb acting that is able to hold your attention from the first to the last frame. It jumps right to the inciting incident within the first few minutes, and the bloody fight between the protagonist and the antagonist is heavily suspenseful until the last scene. The superb dramatic action is well synced with the careful psychological crafting of the camera shots, always giving the audience a different look of the scene, even though the characters are at the same place.James Parks and Caroline Goodall are truly amazing at their parts. Overall, The Elevator is truly remarkable for being a smaller budget feature, filmed in the United States by an Italian producer Riccardo Neri and the Italian director Massimo Coglitore.

This movie reminded me of the 1991 movie "Closet Land".Movies with a minimal amount of actors can sometimes be overwhelming with the lack of on screen charisma, but these actors are powerful enough to draw my attention for the limited amount of time they have to tell their story.What I like best about this movie is the ending leaves you with the question, "What was said in the middle of the movie?" If you had seen this in the movie theater you would have left with an unanswerable question. Classic move on the writers part, and classic movie for people that like movies.