A shocking host of abrasive radio program from LA gets more than he bargained for after a disgruntled fan kidnaps his family while on air. This thriller would have been awesome. The elements and the story that could make it interesting were all there. But instead, we are given a mountain of stupidity that kills the whole movie. An incoherent last-minute deluge of shockers falls flat. I had a feeling something was off but could never have imagined such an asinine twist ending. It’s such rubbish you run the risk of losing some IQ points.
Elvis Cooney (Mel Gibson) kisses his wife and small daughter before driving to the radio station for his late night gig. Because he cannot pronounce the name ‘Indian guard’ he decides to call him ‘Bob’. Elvis has a strange encounter with Bob at the front desk of the building where they both work. Elvis approaches his studio, encountering resistance along the way, however minimal it may be.
The 8PM host, Justin (Kevin Dillon), is out to get him though Elvis just wants Justin’s time slot anyways! The station manager Sam (Nadia Farès) warns Elvis that his ratings are dropping down fast; she says this because ‘he’s too much of an asshole and doesn’t pay enough attention to our social media strategy’.
Mary (Alia Seror-O’Neill), who is Elvis’ producer and co-host, introduces her new board operator Dylan (William Moseley). Dylan does so unintentionally by implying that Elvis is old after which everyone bursts into laughter including Elvis himself as it was not real. A nervous Dylan sits down ready to do their midnight show.
Elvis takes some calls until Gary (Paul Spera) catches his eye, or rather ear in this case maybe? He hung up threateningly against someone before Gary did so again while hanging up on him first time round, causing him to call back trying to calm him down. Just as Elvis speaks, however, Gary’s voice changes. Gary breaks into a house. The sounds of shattering glass are followed by the screams of a woman. Gary puts her on the phone to Elvis and threatens to kill his daughter and wife as well because they are innocent victims. Helpless with terror, Elvis pleads for their lives not just hers alone in particular while trying to realize what they have done wrong that has got them into this situation is an exercise in futility? This is it! A plan that Gary shows here was more thought-out.
The first part of On the Line works very well. He is such an asshole. It is totally believable that someone would want him dead after having been his crazy fan beforehand. Elvis has enough experience with psychos like Gary to know he isn’t playing around. To keep his family alive, he must keep talking to him somehow despite everything inside being torn apart by fear—his voice goes numb with it even before answering any other questions from both sides until the very end when he realizes there won’t ever be any escape: either one dies now or later but either way death is inevitable; so why not ask God about how much pain these children had suffered under such circumstances (Morrison 27)? At first, it seemed like suicide mission if you think about dying yourself just because someone wants you gone forever… but then again neither did dying mean leaving without paying back anyone who hurt us seriously enough right now… or what happens if nothing changes until we die anyway? There was always going something wrong once more every time when people tried hard enough for themselves instead? That kind thing could only come along itself only through sheer luck even though sometimes things went awfully badingly before turning out all right at last.” “But still…”
Gary’s game takes a downhill turn when the radio station becomes his playground for murder. Bombs everywhere; drones in the air; security system hacked. Every possibility has been foreseen by the villain as though he is a criminal genius. He broadcasts to his captive audience on radio while Elvis and Dylan try pinpointing him. The suspension of disbelief falls apart when it comes to On the Line which fails to pass the smell test. It all stinks from bodies piling up.
On the Line ends with an absurd climax. An effort to remold the story line is a huge mistake. You will feel ripped off, honestly; it was one of those dumbest endings ever made in my opinion as well! I can’t even begin to understand what Gibson and his colleagues were thinking when they came up with this idea? This could be considered for a special Razzies category whenever there happens such a disaster like this?
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