Below Zero is indeed a new Spanish thriller Netflix of violence & action from start to finish. It lasts too much for itself at 1 hour and 46 minutes, especially when some parts of the story appear to have gone way far enough.
Even though I can’t really say I haven’t been amused, I believe this movie would please many Netflix viewers. In this article, we have reviewed the movie Below Series. So read the article and find out.
- Javier Gutiérrez as Martín
- Karra Elejalde as Miguel
- Luis Callejo as Ramis
- Andrés Gertrúdix as Golum
- Isak Férriz as Montesinos
- Édgar Vittorino as Rei
- Miquel Gelabert as Pardo
- Florin Opritescu as Mihai
- Àlex Monner as Chino
- Patrick Criado as Nano
- Carla Chiorazzo as Bárbara
- Eva Manjón as Elena
- Ángel Solo as Policía mayor
- Marc Padró as Policía joven
- Jon Rod as Funcionario
Review of the Movie
Below Zero’s opening scenes present the protagonists to a great extent. We see much of his story, as the police officer Martin is the principal character. That also implies that we recognize what a guy Martin is when he ends up stuck with such a handful of prisoners in a transportation car.
Waiting outside is a man who tries to come in there and is apparently willing to do whatever it takes. And kill everyone in the way. He only tries to take one of its prisoners in his hands, which implies we have such a puzzle in our hands. This is discovered only in the last section of the film.
We have Javier Gutiérrez as Martin, who has become a well-known figure of Spanish film fans. His films The Mirage (2018) and Occupant (2020) feature two completely separate sides from the character in Below Zero. He has a lot to say about Netflix. He creates one heck of an impression to his very identifiable face and small stature.
Each film fan would know that your overall assessment of the movie could be brought to an end sometimes. The end of Below Zero is indeed fine, as it provides several answers. It leaves you with some queries, however, of which you cannot have answers.
The final moments can go one direction, but I would prefer them almost to go in the opposite direction. It seems pretty predictable how the lower zero endings occur. It would’ve been more daring to follow a different path. Again, I realize that the masses are making a film like this. And nobody will like a darker or sadder ending.
Nevertheless, I think this film takes a little too long yet asks the audience finally not to explain it enough. Only a straightforward question, why doesn’t anyone seem to ask why the prison transport does not really arrive on time? And nobody will check in on the trip only with transport? Both aspects were meant to be clarified somewhere.
Also, it is indeed unexpectedly able to drive for just a van it wouldn’t begin and also had flat tires. All of them with only a few quick (and far-flung) scenes to illustrate how. Indeed, we see the intruder tightening a few tires and cable fiddling, but is that an excuse for that? Moreover, from where would he get the new tires? Just the front cab of its van he has connections to.
If you think he has the replacement tires, it’s also very distinct from “just” having his hands with one guy. That would also suggest that he was very severely carrying out a more comprehensive theoretical strategy. I mean, he was also not prepared to get the guy out of the van until he had gotten out. This is only too sloppy!
Underneath Zero is a 2-half film. The first creates an interesting and tense thriller through which all the guns burn throughout the second half. The centre switches course with an inmate VS guard situation which seems to be explosive at any time and begins to provide a patchwork of factors to battle our characters. There is indeed a good little guilty Spanish joy in here if you really can look over some of the unlogical scenarios.
As just said, the story looks like a mix of various movies. It has a loosely sewn influence and, over the years, both independent and mainstream, of odd and wonderful Hollywood titles. You have Cube & Escape Room components combined with Attack in Precinct 13 and survival films like Arctic sprinkling. All this brings together an ever-changing and evolving film that makes these tonal changes volatile and tense.
Any of these tensions derive from the simple concept of using the traditional notion of a “little fish in a large pool” to put the worst possible scenario over our rough nose prison officer Martin Driven throughout the country to drive violent offenders – no less rigorous roads in the bubbling winter weather – catastrophe hits.
What follows is a stand-off among Martin as well as the prisoners when they exchange bullets and blows as they struggle to control what they are facing.
It is interesting to note that Below Zero throws a good twist in the middle, questioning the balance of power in an attempt to offer a sense more profound than a simple VS cops premise. Although this is a victory, it could maybe have been done somewhat more elegantly than that of the bombastic final outcome.
This can be well translated into the character arc of Martin; however, with the satisfactory finish for the journey we followed during the film.
However, several of the movies are shot in the night when we talk about grey shades, which sadly gives this title some lighting problem. There are many moments when the face of a character is bathed throughout the darkness when interacting or listening to what happens, which makes it difficult to see the actor at work. It isn’t continuous.
The outcome is a film that makes you feel happy about how luminous these segments are. It is certainly something worth considering before jumping into the dealer. It is not a deal-breaker.
Netflix Film Below Zero has some nice bits of action, but it feels far too tense to tell stories. In specific, the third act is prolonged, and some of this initial tension is lost early. Yeah, it’s a little dumb, a little insensitive and conditioned by what has happened before, but there was enough here just to suggest it nevertheless.
Is it Worth Watching?
Throughout this violent thriller, there is plenty of excitement that wanders around and transforms into various kinds, such as suspense, mystery, survival and horror. Underneath Zero works, despite all and because of the masking of genres. For example, the film might start first with a nod of fear, but then firmly reinforce the mystery, only after that switch into the psychological thriller territory, then go back for even more horror, then go on to a sort of safety, then jump back to something like a reminder of its core mystery, then go back to a hunter-hunted some kind of thing and on and on prior to the final revelations. This may be the film’s subtle brilliance, its dexterous managing of the above in one, simple voice and tonality.
Although the film does not appear beyond the light-skinned Spanish men throughout this movie, sadly, it is aggressive, layered and good to watch. Gutiérrez’s Martin is firmly committed to keeping a group of inmates onto his humanity. And Ramis Callejo takes on every scene in which he is and at the very ends has become a different form of film heart. In addition, each protagonist is carefully crafted and provides bits of history and context dispersed during conversation and dialogue. Alliances are established and traversed; character perceptions are played and thwarted, and Martin could never know completely whom he could believe. However, brutality and gore can be a shift for others, as it abruptly and violently happens often without notice.
What Should Kids Know?
- Families will discuss below zero brutality. Do you believe that without violence, the film might have been as successful as a thriller? What is it like? Was there too much violence?
- Do you believe the prisoners’ picture has been done well? Which community or cast did you like most? What you least liked? How do the prisoners do this as compared to the police officers in the film? Are you realistic about their relative representations? Why not? Why or why not?
- Could you, in some of the circumstances in this film, have done something differently? What you’d have done things differently under what circumstances?
- Do you believe that at the conclusion of the film, “justice is served?” Why not? What and why?
- Talk about the genre mashup throughout the movie. Do you agree that this would support or harm the story?
Final Judgement: Skip It or Stream It?
Martin was transferred to a new department by the National Police Corps. Your first job? He and his new partner Montesinos drive an armed prisoner transportation platform. It’s cold in the winter, but you have to do what you have to do and that for a long period of time, Martin settles into the car, Montesinos throughout the observation area in the back and every prisoner during an individual room. The operation does not really take much time to go south.
Martin loses visibility of its lead car as he fog enters the lonely road through dense trees. Road spikes glint in the platform headlamps, and the platform is disabled before it learns. It gets worse just when Montesinos walks out and has never been heard again. In their cells, the inmates are getting rowdy, and one man, Ramis, was already shown to be able to escape his box. Has this attack been planned? Martin is in the darkness and all by himself, and he’s now being targeted. How about the first day at work?
Under Zero, the tension begins to increase as the commanded prison van speeds up, as well as the story presents and refuses the possible explanations for the assault of each inmate. And then when the interior of the plumbing is assaulted by fuel from above, as well as the heat has been cut off during the freezing cold night, the attackers will be apparent that they are not afraid to kill any. Martin, compelled to collaborate with the remaining jailbirds to find a way out of them or a means to turn tables in favour of them, discovers that many of the thieves, at least, are honoured, while he also learns how certain amoral men could be.
What films do you remember? This is not so with Air, but there is also an echo of the classical intervention of its 1990s in the armed transport takeover. Speaking about the nineties, Below Zero reflects the interpersonal stress of 1993’s “The Fugitive” and its raw survival. See the hardcore Indonesian action thriller and The Night Comes for that for a new, completely mad, and profoundly violent battle in a crowded prison bus.
Worth observing performance: Luis Callejo is bad as Ramis, the small-timer who would have his own scheme to avoid the transition of prison prior to being stabbed, with a handmade lock selection that perhaps the cops weren’t really going to find the only place which he had hidden. Hallowed by the confusion of the platform attack, Ramis searches for an escape with his wit. It turns out that he really performed throughout the flamenco band at Martin’s engagement. He tells this party a resigned smile, “My uncle taught me to play the guitar.” “But at the locks, I was stronger. What else can I say? What can I tell you? It is the fascinating lives of crooks and artists alone.”
Dialogue memorable: it was a mess inside the jail platform. The men are on the throats of each other. There is confusion. confusion prevails. Nobody knows who was organizing this attack, or at least nobody acknowledges participation. And the radio intercom cracks. “Nano. “Nano. We will meet you, I told you.” And the child goes green with fear, and the hard neck tattoos of his guy seem to shrink in panic.
None of sex and skin. The attack and murder of even an innocent young woman is mentioned, which is hard to hear.
Our assumption: Taking place nearly entirely over this cold night’s murky stretch, Below Zero generates a clear sense of anticipation from the outset. Six inmates, each mouthful but in its own way. There are two police officers on board, one admitted to just the rulebook scoffing. Who of those diverse figures is able to knock on even a prison transport platform outside? Who? The early tale paintings are successfully performed.
The stress mutates again until the target of the attacker is disclosed. Cops or criminals are locked in a cage with their own cages that a man who is already proven to be a murderer literally drives down the lane. And when all its steps are taken, and the sun has been rising, it remains for the intruder to flush his prey with one final terror. There’s going to get much colder and much weather. Below Zero is designed to his climax with a bead traced to desperation with a white-kneecap atmosphere and an ever-decreasing list of who is already breathing.
Stream it is our call. The fog of discomfort is clear only because of the acute aggression, which is occurring in its place when Below Zero starts its dense and claustrophobic hurt down a silent, unknown path.