![]() ![]() So goes one of several hugely effective scenes in writer-director Matt Palmer’s Calibre – an indie drama-thriller that quickly establishes its own line in low-key suspense. The colour red weighs heavily on Vaughn’s guilt-ridden mind, and all he can think about is escape. Red wine pouring into a glass crimson blood oozing from a slab of barely-cooked venison on a dinner plateĭark red paint all over the dining room walls. That’s a mixed blessing for a film that certainly deserves the broad exposure of international streaming.īut whose natural habitat is the midnight-movie circuit: Its jackknife shocks, clammy atmospherics and head-filling soundscape would best be enjoyed (or at least endured, at its most palpitating moments) in the immersive darkness of a cinema. That is, if smart genre fiends seek out Matt Palmer’s majorly promising debut feature on Netflix - where it’s set to bow globally on June 29, just one week after its home-turf premiere at the Edinburgh Film Festival. But getting out of the woods isn’t even close to getting in the clear in “ Calibre,” a sensationally well-executed nerve-mangler that ought to do for the majestic Scottish Highlands what “Deliverance” did for Appalachia. A lads’ hunting weekend begins with beers and banter, only to swiftly sober up when two Edinburgh townies wind up shooting entirely the wrong prey.
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