on the line movie review

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Stream It or Skip It: ‘On the Line’ on Netflix, With Mel Gibson Racing to Save His Family (Again)

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On The Line (2022)

‘Land Of Bad’ Solidifies Russell Crowe As A Netflix King — Without Making Any Actual Netflix Movies

Robert towne always knew how to bring out the best in the movie stars he befriended, new movies on streaming: ‘babes,’ ‘boneyard,’ + more, is mel gibson’s ‘boneyard’ streaming on netflix or hbo max.

On the Line , now streaming on Netflix, plays on Mel Gibson ’s dodgy real-life reputation by casting him as a cantankerous shock-jock whose nightly after-hours radio show is interrupted by a caller with a deadly grievance.

ON THE LINE : STREAM IT OR SKIP IT?

The Gist: Elvis Cooney (Mel Gibson) has a name for radio – and a retrograde attitude to match. Though he’s first seen tenderly playing with his daughter, potentially setting up a contrast between the satisfied off-mic family man and the cranky, old-school role he plays up for his show, Elvis seems to embrace on his on-air persona in real life, making sour comments to coworkers, complaining about being asked to use social media, and generally telling it like it is (also known as being an intemperate jerk). But his sensibility comes back to haunt him when an apparent ex-coworker named Gary phones into his radio show with serious threats against Elvis’s wife and child. Elvis, alongside his inexperienced staffer Dylan (William Moseley) and his loyal right-hand woman Mary (Alia Seror O’Neill), must race to save them as Gary keeps the whole cat-and-mouse game on the air.

What Movies Will It Remind You Of?: Gibson using media to bark threats at someone who has kidnapped his child brings to remind Ransom , one of his signature ’90s hits, though the movie unfolding largely in real time in a single building may bring to mind Hitchcock thrillers like Rope or Rear Window (or, more appropriately, clunky decades-later imitators like Nick of Time ). Putting the bad guy on the other end of a taunting phone call might also bring to mind most Hollywood thrillers made between 1992 and 2007. Naming the movie it most resembles, however, would constitute a massive spoiler.

Performance Worth Watching: The movie doesn’t give you much choice about who to watch at any given moment: This is the Mel Show. Gibson brings his trademark weathered intensity; unfortunately, his alternating propensities for self-torture and self-aggrandizement are present and accounted for as well.

Memorable Dialogue: At one point, the bad guy compares himself to Joaquin Phoenix in Joker , and even quotes his helpless laughing as he gasps “I have a condition.” So, yes, the most memorable line in this movie is from another movie.

Sex and Skin: Part of the movie’s plot hinges on a sexual affair, but that all stays off screen.

Our Take: There’s something immediately tense and mysterious about an anonymous voice at the other end of a phone call. That’s something cleverly exploited by countless Hollywood thrillers, as well as plenty of smaller-scale productions (like The Listener , an upcoming Steve Buscemi-directed drama with Tessa Thompson). So it’s remarkable how writer-director Romuald Boulanger is able to over-amp that tension before dissipating it entirely over the course of On the Line , a thriller set in the exciting, cutting-edge world of terrestrial radio. Though Elvis Cooney (Mel Gibson) seems like the type of shock-jock who’d leave mainstream radio in favor of a sweetheart deal on satellite or Spotify, he still runs his show on a Los Angeles-area radio station, seemingly unconcerned about plateauing ratings. It’s actually difficult to get a bead on his popularity, because the movie wants to have it both ways: Early in the film, Elvis is called out for his unwillingness to engage with modern audiences via social media, while he also seems to be treated like radio royalty by a loyal cohort of listeners. (The conversation is made all the more nonsensical by the edict that he should “stop pushing the envelope,” when that’s obviously the reason he attracts whatever listeners he has; the movie is so muddled about his motivations that it’s genuinely difficult to puzzle out whether his midnight timeslot is supposed to be the dregs, or a badge of honor.)

In any event, Elvis has enough sway to ruin someone’s life – or so claims a caller named Gary, who calls the show in order to report that he’s holding Elvis’s wife and child hostage as revenge for a misdeed in the host’s past. What Gary actually wants from Elvis remains elusive, and not because the movie is withholding various puzzle pieces until just the right moment for them to snap together. Mostly, Gary just sends Elvis and his de facto assistant Dylan running around the radio station building; he keeps hinting he may use his hostages to actually get Elvis to do something trickier or more painful, but for a substantial stretch of the movie, Elvis plays a literal game of hide-and-seek, often involving absurd threats about perfectly wired explosives and perfectly timed murders. A shocking amount of the movie feels like an exercise in killing time, and Boulanger’s listless staging ensures it won’t pass in a flash.

“What kind of B-grade movie bullshit is this?” Elvis says at one point, attempting to lampshade the litany of contrivances at hand. The movie does eventually provide an answer, for this question and some of its most seemingly out-there plot turns, but the denouement still features a tell: It’s so insufferably drawn-out that even as the movie wraps up, it underlines (among other things) the punishing lumpiness of its pacing. The actual answer to Elvis’s question is that On the Line has a long way to go before it reaches B-grade level.

Our Call: A vengeful caller sending a frazzled shock-jock on an overnight odyssey isn’t a bad idea. But On the Line is the kind of movie that thinks it can win the game with a Hail Mary pass in the last ten minutes. Avoid the runaround and SKIP IT.

Jesse Hassenger ( @rockmarooned ) is a writer living in Brooklyn. He’s a regular contributor to The A.V. Club, Polygon, and The Week, among others. He podcasts at www.sportsalcohol.com , too.

Stream On the Line on Netflix

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On The Line

J ust when you think a dating movie can’t conceivably involve more impossible coincidences and Idiot Plot situations, along comes another movie to prove you wrong. After ”Serendipity,” here is ”On the Line,” starring Lance Bass of ‘N Sync in an agonizingly creaky movie that laboriously plods through a plot so contrived that the only thing real about it is its length. In both movies, a boy and a girl Meet Cute and instantly realize they are destined for each other, and then they plunge into a series of absurd contrivances designed to keep them apart.

Just once, could they meet and fall in love, and then the movie would be about their young lives together? I’m weary of romances about lovers who devote years to living far apart and barely missing chances to meet again. If this genre ever inspires a satire, it will end with the boy and girl sitting next to each other on an airplane– still not realizing they are together again, because by then they will be 80, having spent 60 years missing each other by seconds.

Lance Bass plays Kevin Gibbons, a low-level Chicago ad executive who has no trouble with girls unless he really likes them. Then he freezes up and can’t close the deal. One day on the L he meets Abbey ( Emmanuelle Chriqui ), who has a sunny smile and a warm personality, and can recite all of the American presidents, in order! So can Lance! Somewhere between Buchanan and Bush they realize they are meant for each other. But Kevin just can’t ask for her phone number. And despite decades of feminist advances, all Abbey can do is smile helplessly and leave their future in his hands. They part with rueful smiles. No, make that Rueful Smiles.

Later, Kevin kicks himself, and moans to his roommates about the perfect girl who got away. These roommates include fellow ‘N Sync-er Joey Fatone , as Rod, who sings in an open-mike saloon and specializes in kicking the amp; Eric (the comedian GQ), a devoted mope, and Randy (James Bulliard), the brains of the outfit. The four guys spend countless precious screen minutes hanging around their flat engaging in redundant dialogue while we desperately want the movie to lose the roommates and bring back the girl! But no. Films for the teenage demographic are terrified of romance and intimacy between the sexes, and shyly specialize in boys plotting about girls and girls plotting about boys, with as few actual scenes between boys and girls as possible. So after Kevin papers the town with posters seeking the girl he met on the train, and dozens of calls flood in, the roommates divide up the calls and date the girls (not telling Kevin, of course).

Well, obviously, only the right girl would know she was not going out with Kevin. So when Eric dates Abbey and she knows he’s not Kevin– that’s the girl! Right? But no. Eric is dense to the point of perversity, and spends their date not saying the few obvious words that need to be said, while acting like a pig and giving Abbey the impression that Kevin planned this humiliation. This is the Idiot Plot gone berserk. One sentence– one word! –and all would be solved, but Eric and the screenplay contort themselves into grotesque evasions to avoid stating the crashingly obvious.

So of course Abbey is crushed, and so are we, because we realize we are in the grip of a power greater than ourselves–Hollywood’s determination to make films at the level of remedial reading. No one involved in the making of this film is as stupid as the characters, so why do they think the audience is? Why not for once allow young lovers to be smart, curious, articulate and quick? It must be said that Lance Bass and Emmanuelle Chriqui have sweet chemistry together, in the few moments they are able to snatch away from the forces designed to separate them. Bass is likable (but then likability is the primary talent of ‘N Sync), and Chriqui, from Montreal via ”Snow Day” and ”A.I.,” is warm and charming and has a great smile. I can imagine a lovely love story involving these two actors. Too bad ”On the Line” goes to such lengths to avoid making it.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

Emmanuelle Chriqui as Abbey
Lance Bass as Kevin
Joey Fatone as Rod
Eric Aronson
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On the Line Reviews

A vengeful caller sending a frazzled shock-jock on an overnight odyssey isn’t a bad idea. But On the Line is the kind of movie that thinks it can win the game with a Hail Mary pass in the last ten minutes.

Full Review | Mar 26, 2024

The initial excitement dissipates...

Full Review | Original Score: 2.5/5 | Mar 27, 2023

The acting is across-the-board woeful, with Gibson all-but sleepwalking through his role, and the preposterous denouement serves only to compound viewers' suspicions that the whole affair has been a waste of their time.

Full Review | Original Score: 1/5 | Mar 23, 2023

A few snappy one-liners courtesy of a confident lead sadly don’t make up for, well, everything else.

Full Review | Original Score: 4/10 | Feb 23, 2023

Not a perfect movie by any means but the more I thought about it the more I liked it.

Full Review | Original Score: 6/10 | Dec 1, 2022

This is a really good Mel Gibson film.

Full Review | Nov 30, 2022

Gibson tries to capture that same manic energy here as the dark and edgy man-pushed-to-the-edge [Lethal Weapon's Martin Riggs] and does a good job of it - perhaps that was the attraction for him to this role.

Full Review | Original Score: 3/5 | Nov 23, 2022

Any tension is undermined by the progressively incoherent plot twists. As for the dialogue, a dial tone would be better.

Full Review | Nov 18, 2022

As a thriller it’s remarkably unthrilling and the big payoff might just have you throwing your popcorn at the screen. Terrible. Just terrible.

Full Review | Original Score: 1/5 | Nov 18, 2022

[Mel Gibson's] curmudgeonly persona has hardened to a point that leaves limited room to modulate, which is a problem when we’re meant to believe Elvis is living through the worst night of his life, rather than just another Tuesday.

Full Review | Original Score: 1.5/5 | Nov 17, 2022

As much as I dislike Gibson, he's not the reason the film smells like a bomb.

Full Review | Original Score: C- | Nov 15, 2022

Using the idea of a radio show to get across much of its action, this low-budget thriller might have worked had it not made several missteps that will leave viewers feeling frustrated and annoyed.

Full Review | Original Score: 2/5 | Nov 15, 2022

There are a few interesting twists that are reminiscent of early Fincher. [Full review in Spanish]

Full Review | Original Score: 7/10 | Nov 15, 2022

… feels like a protracted exercise in trolling the audience.

Full Review | Original Score: 10/20 | Nov 14, 2022

A poorly executed “thriller” that takes what could have been a slickly designed premise (not unlike such locational thrillers as Panic Room or Buried) and undoes any of its potential with laughable dialogue and unconvincing performances

Full Review | Original Score: 1.5/5 | Nov 10, 2022

Most viewers might be willing to shrug off “On the Line” as a mere mediocrity until the final twenty minutes. After them, though, they might feel like throwing things at the screen.

Full Review | Original Score: D+ | Nov 8, 2022

Mel Gibson commits to the Phone Booth-like intensity the film believes it's delivering, but when it shifts into find-the-killer-in-the-big-building and a whole WTF climax that should have any viewer asking why they bothered with this full-length exercise.

Full Review | Original Score: 1.5/4 | Nov 8, 2022

On the Line could have been an entertaining thriller. It had the basic elements and premise to weave a heart-pounding narrative. Instead, we get an avalanche of stupidity. A barrage of bewildering last-minute reveals crashes with a thud.

Full Review | Original Score: 1.5/5 | Nov 8, 2022

Is “On the Line” going to resuscitate Gibson’s waning career? Probably not. Will it change the minds of his many detractors? No. It will, however, offer further proof that Gibson loves to work and, on occasion, recapture the spirit of his glory days

Full Review | Original Score: 4/5 | Nov 4, 2022

“On the Line” can’t quite shake the nagging problem of its utterly preposterous scenario.

Full Review | Original Score: 2.5/5 | Nov 4, 2022

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DVD & Streaming

On the Line

Comedy , Romance

Content Caution

In Theaters

Lance Bass as Kevin Gibbons; Joey Fatone as Rod; GQ as Eric; James Bulliard as Randy; Emmanuelle Chriqui as Abbey; Dave Foley as Higgins; Al Green as himself; Jerry Stiller as Nathan

Home Release Date

Distributor.

Miramax Films

Movie Review

“I really, really liked it!” That’s what I heard an almost-teen girl gush to her mother as they walked out of the theater. Those weren’t my sentiments exactly, but I’m no ‘N Sync fan. She obviously was. Lance Bass and Joey Fatone of the staggeringly popular pop band ‘N Sync star in this film, and their presence alone will make it a pre-teen fave. The rest of the civilized world will just think of it as movie-lite.

The plot is either tried-and-true or driven-into-the-ground, depending on how you look at it. Kevin meets the perfect girl on the Chicago “L” (elevated rail). They chat madly for a couple of minutes, bond over the Cubbies, and recite all the American presidents from Washington to Bush. It’s true love for Kevin and Abbey. Oops, Kevin doesn’t know Abbey’s name. The two part ways with nary a phone number or first name between them. All that’s missing is a silky boy-band remake of the Chi-Lites’ song “Have You Seen Her.” Kevin posts flyers all over downtown hoping his mystery match will call. She does. As do hundreds of other love-struck women groping for romance. Kevin’s a star. But his girl is lost among the mortals. How will he ever find her? Will buddies Eric, Rob and Randy help, or just get in the way?

positive elements: Kevin’s friends mess things up pretty bad for him by taking advantage of his celebrity and using it to pick up girls. They come around in the end, though, and realize that they’ve done the wrong thing. Friends look out for your best interests, they don’t ride your coattails for their own benefit. That’s a good lesson to learn. There’s also an underlying idea here that’s worth mentioning. Kevin “lays it on the line” to get what he wants out of life. He’s tired of “not closing the deal,” of letting people take advantage of him and not making his wishes known. Take it too far and you’re self-absorbed, but well-balanced confidence and determination make a lot of difference in life.

sexual content: Virtually none. Kevin and Abbey kiss (oh, you knew they were going to get together!). Kevin imagines himself on stage naked (only his bare chest is shown). And Rod squirts mouthwash spray down his pants.

violent content: Sammy Sosa fouls a fastball into Eric’s crotch. Rod kicks his date while trying to show off for her by singing and playing his guitar (she ends up with a broken nose and ankle). Kevin angrily hits Eric in the face.

crude or profane language: Only a couple of mild profanities, but crass words and phrases such as “crapped out,” “freakin,'” “bass ackwards,” “gimp,” and “screwed” all pop up in dialogue.

drug and alcohol content: Kevin and his buddies hang out at a bar. Kevin is seen drinking a beer on one occasion.

other negative elements: Rod makes a big show out of being a wild and crazy rock ‘n’ roller. He’s deliberately—and loudly—flatulent. He kicks his equipment while performing. Also, even though they repent in the end, Kevin’s friends display an appalling lack of respect for women. They just want to “pick up chicks.” Were they raised on a concert tour?

conclusion: Give Lance and Joey credit for not cramming their movie with foul language and sex. They’ve presented their target audience of 8- to 14-year-old girls with a sweet romantic comedy that’s clean enough to shame 90 percent of what passes for prime-time TV these days, much less big-screen yukfests. Kudos for that. But if ever there was a story that focused more on the idea of love rather than its substance, I’d be hard pressed to find it. Kevin and Abbey fall in love because, A) they’re cute, B) they both like baseball, and C) they both excel at historical trivia. Therefore, Kevin and Abbey will live happily every after. As long as the two of them are within subway reach of Wrigley Field. It’s fun sometimes to fantasize about meeting that special someone and falling madly in love before 10 a.m., but this stuff is as gooey as a Backstreet Boys, er, make that an ‘N Sync ballad. Don’t let your teens fall for the superficiality of it all. If you decide to let them eat this candy, make sure it doesn’t ruin their appetite for dinner.

Positive Elements

Spiritual elements, sexual & romantic content, violent content, crude or profane language, drug & alcohol content, other noteworthy elements.

Steven Isaac

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REVIEW: “On the Line” (2022)

Several actors have found new life in the world of VOD. What started in earnest during the VHS video tape era is now thriving with Video On Demand. Prior to the sad news of his retirement due to health problems, Bruce Willis was putting out several of these low-budget, straight-to-VOD action-thrillers per year (he made SEVEN in 2021 alone). While Mel Gibson is still seen in larger big screen projects, lately he’s been popping up in several of these VOD features.

Gibson’s latest “On the Line” comes from writer, director, and co-producer Romuald Boulanger, and technically it fits within the VOD sphere in terms of budget and (at times) quality. But Boulanger creates a few moments that elevate it beyond the box that so many of these movies snugly fit in. And we get a few scenes that tease us with the old Mel Gibson who can carry a movie with his gravelly charisma alone.

But “On the Line” can’t quite shake the nagging problem of its utterly preposterous scenario. It left me with so many questions. It’s also a movie that hinges so much on its final act twist. But getting to that twist isn’t easy. The movie’s shaky opening gives way to a middle section that ranges from head-scratching to astonishingly bad. But what makes this such a hard review to consider is that the ending actually explains why the long and bumpy middle is the way it is. But that doesn’t make our first sitting through the stretch any more satisfying.

Gibson plays Elvis Cooney, a “legendary” LA shock jock who hosts a popular midnight radio show called On the Line . After arriving at the station for his evening slot, Elvis butts heads with his on-air rival, Justin (Kevin Dillon), gets an earful from his ratings-worried boss, Sam (Nadia Farès), and is introduced to his new producer named Dylan (William Moseley). He then sits down with his switchboard operator, Mary (Alia Seror-O’Neill) and kicks off his caller-based program.

Early into the show, Elvis takes a disturbing call from a troubled man named Gary from Pasadena. He claims to be outside of the home of the man who “ruined his life”, and if Elvis takes him off the air he’ll kill everyone inside. It puts Elvis in a tricky predicament that only gets thornier once Gary reveals he’s at Elvis’ house. So with his wife and daughter held hostage by an armed madman, all Elvis can do is keep him on the line and play his demented game of wits.

It all makes for a fairly interesting premise that’s easy to latch onto but hard to stay connected with, especially as things get more and more absurd. Outside of Elvis, all we get are wafer-thin characters, some weird decision-making, and bits of cringe-worthy dialogue that’s hard to get past. But then we get that twist which makes you second guess your frustrations with the earlier stuff. It’s just as ridiculous, but it does catch you off-guard and help make sense of what you’ve seen up to that point. But it’s hard to toss aside the experience leading up to the reveal. It’s ultimately what keeps the film from hitting its ambitious mark. “On the Line” premieres today, November 4th, in select theaters and on VOD.

VERDICT – 2.5 STARS

On The Line (2022) Movie Review – This is one movie you should hang up on

This is one movie you should hang up on.

Mel Gibson hasn’t starred in many decent movies over the last few years so expectations were fairly low when I sat down with On The Line , a recent thriller that debuted on Amazon Prime in some regions.

Gibson stars as LA radio host Elvis Cooney, who we quickly discover is a bit of a prankster when he plays a cruel joke on Dylan (William Moseley), his show’s new intern. It’s clear from this that he loves to make people feel uncomfortable but after the movie’s opening few scenes, where we learn just how nasty he can be, the tables are turned when he is targeted by one of his callers.

The caller’s name is Gary, a man who claims to be at Cooney’s home holding the show host’s wife and daughter hostage. Cooney doesn’t take him seriously at first but when he hears his family (and a gunshot) on the other end of the line, he realises that Gary poses a very real threat to the people he holds dear.

Cooney tries to de-escalate the situation before Gary does the unthinkable but in the process, secrets about his own past are revealed and the lives of his colleagues are later put in danger.

Gibson turns in a good performance as the pressured radio host and the first half of the movie is actually quite decent, as director and writer Romuald Boulanger manages to ratchet up the tension nicely. There were moments during the verbal exchanges between the narcissistic joker and the vengeful caller when I was on the edge of my seat and as such, the movie transcended my initial low expectations.

But despite the promising setup, the movie becomes increasingly ridiculous the more it goes on. It soon becomes clear that Gary isn’t in Cooney’s home at all, so this undermines an entire portion of the story. This twist in the plot becomes the catalyst for a cat-and-mouse game as Cooney and Dylan attempt to track down the abductor but these scenes, which take the focus away from the single location of the radio studio, are rarely believable and they suck away the tension that had been built up previously.

As such, you shouldn’t be surprised if your interest in the movie eventually starts to wane, despite the committed performances by the cast. Gibson and co manage to elevate the material they have been given but their best efforts are undone by Boulanger, who fails to bring the movie to a satisfying end. There are a couple of decent sequences during the movie’s second half, such as a sequence on top of the radio station where Cooney is given a chilling ultimatum, but there is nothing to match the suspenseful scenes that came before.

Still, the lack of tension during the final section isn’t the movie’s biggest problem. As the movie draws to a close, there are two massive twists and neither of them make a lot of sense. They undermine every plot point that happened previously and if you’re anything like me, you will likely feel a deep sense of frustration when these twists unfold.

There’s nothing wrong with a movie that gives us a surprise ending – The Sixth Sense , Se7en , and the original Planet Of the Apes are just some of the movies that are fondly remembered because of their final twists – but the revelations within On The Line infuriate rather than impress. I was genuinely annoyed by the movie’s resolution and while I kind of understand why Boulanger ended his story the way he did, you will likely share my anger when the rug is pulled out from beneath you.

This could have been the movie to bring Mel Gibson back into the spotlight but instead, it is yet another failure that will do little to re-ignite his dwindling career. 2020’s Fatman did much to win him favour after a series of critical flops but he has continued to make bad career choices in the years since. He isn’t the only ageing actor in recent times to take on paycheque roles – John Travolta, John Cusack, and Nicolas Cage have also sacrificed quality for money – but like those actors, Gibson is a talented actor who is capable of so much more.

Ultimately, On The Line is a missed opportunity. It could have been a decent thriller but after a strong first half, it quickly starts to lose its way. Therefore, this is probably a movie you should ignore, even if you are a fan of its lead actor. If your friend calls you up and recommends it to you, that phone call is probably one you should quickly hang up on. If only Gibson had done the same when he was offered this joke of a movie!

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Verdict - 5/10 5/10

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On The Line (2023) Movie Review: A Thriller with a Subtle Anti-War Subtext

“On the Line,” a film shot inside a single room with multiple wires around, might feel claustrophobic after a point. All it shows is one woman in that room, connecting calls on the island of Alderney in 1964. It was a time when people could not get connected to each other without another human being, an operator working as the glue to connect the calls through literal wires. We meet our protagonist, Agnes, through whose eyes the whole film unfolds.

In his directorial debut, writer-director-producer Oliver Pearn hasn’t done a bad job in skilfully constructing a thriller that is also a subtle critique of the war. The story starts in a mundane manner. We see Agnes, the operator, roaming around in a room full of wires and doing the job of connecting the calls of the island over and over again. She is the only employee there, and her tasks are ridiculously monotonous. She says the exact words to each caller and leaves her chair only occasionally to smoke and spin inside the room. What’s interesting here is that even for smoking, Agnes does not go outside. The whole setting appears very suffocating, and it’s not unnatural for the audience to suspect that everything is too rhythmic here to continue this way.

Agnes suddenly gets a call from a certain Martha, who she picks up unsuspectingly. She only realizes that the woman is in danger after speaking for a while. This gets her all pumped up and excited, and Agnes makes it her mission to save that woman. She calls up her friend Betty at the police station, bugs her fiance to do as she tells him, and informs a nearby cafe to alert them about the woman Martha and the man who has taken her. Through her investigation, we gradually come to know that Martha is a nurse and a maintenance person named Harold has taken her.

Agnes gets to know this from Shirley, a nursing home resident where Martha works. With this information, Agnes thinks she has cracked the case, but things seem to be different from how they appeared initially. The film makes the viewers keep guessing about Agnes’ intuition and her understanding of the situation. It is not until the very end of the film that Agnes, along with the viewers, figures out that she has indeed made an error in judgment, and things are definitely not what they seem.

“On the Line” does a decent job of telling the story that it wanted to tell. The setting backs up the plot massively, and Victoria Lucie, as Agnes, offers a compelling performance. The other actors, including the brilliant Harriet Walter, have done wonders with just their voices. They are never seen on the screen, but it’s never difficult to understand exactly what they are feeling or trying to convey. While Richard Heap’s Sergeant Wilks makes his disdain clear when he understands that Agnes is listening to police conversations, Joanne Rogers’ Martha and Royce Pierreson’s Harold deliver their helplessness brilliantly simply over the phone.

Besides working fairly well as a thriller, “On the Line” also comments subtly on the traumatic after-effects of war. As the story turns out in the end, it becomes quite clear that the film has an anti-war subtext. What war does to a person and how difficult it is for an army person to return back to everyday life is brilliantly shown in an understated manner. Simultaneously, the film also comments on women’s aspirations in those days, when they had to sacrifice a lot to build a family. Agnes, the only visible character, wants to be taken more seriously by everyone around her, including her fiance. However, it doesn’t seem that this dream of hers will be fulfilled anytime soon despite her working quite well on it and potentially saving lives.

“On the Line” is a good one-time watch if you are short on time and want something that doesn’t feel too heavy on your head. The film moves fast, and things keep happening one after the other, which will keep you hooked until the end. With the ending twist and the subtle ways in which it deals with serious subjects, the film will not disappoint you if you don’t expect too much from it.

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On the Line Movie's Wild Ending Explained - Mel Gibson Film Meaning

Mel Gibson's On the Line is making the rounds online as viewers ponder the meaning of the movie's ending.

Directed by Romuald Boulanger and released on November 4, 2022, On the Line tells the thrilling story of a radio host who gets an in-station call from a threatening individual.

This leads to the reveal that the caller kidnapped his family and has plans to blow up the entire station, resulting in a tense 104 minutes that leaves viewers with questions from start to finish.

Analyzing On the Line's Ending Moments

2022's On the Line features Mel Gibson as Elvis Cooley, a Los Angeles-based shock jock radio host known for pulling pranks on both listeners and employees.

After meeting a new intern and starting his usual midnight show, Elvis gets a call from a listener named Gary, who eventually tells him he has Elvis' wife and daughter hostage and will kill them.

Gary tells Elvis he's doing this as revenge for the death of his girlfriend, Lauren, who previously worked for Elvis as a switchboard operator. He says Lauren committed suicide after suffering verbal abuse from Elvis during her time working for him.

Gary then attempts to force Elvis to jump off the roof of his radio station building to his death, although Elvis and his intern Dylan attempt to fool him. Quickly learning they faked the jump, Gary seemingly fires his gun over the phone, making Elvis believe his family is dead.

This leads to an insane chase for Gary all over the building as Elvis realizes the kidnapper is in the studio. Running through the facility with Dylan as he remains on the air, Elvis realizes the kidnapper is in the studio.

Finding a rival radio host shot in the head, one security guard lying dead in the lobby, and another guard hanging to death on the upper floors, Elvis continues playing Gary's game as he seeks the kidnapper out.

Eventually, he apprehends Gary and has a boxcutter at his throat while Mary (his co-producer) and Dylan stand with him. Gary also seems to have the building rigged with bombs and hints that he can blow up everybody inside at the touch of a button, along with Elvis' wife and daughter.

At the climax, Gary shoots an LAPD SWAT officer in the head and drops the dead man switch, but nothing happens - it is all revealed to be a huge hoax.

Elvis reveals that he set up the entire operation with every employee involved to prank the new guy, Dylan, who stands in pure shock as everybody else tries to get a rise out of him. Things take another turn when Dylan backs up into a stairwell and falls before hitting his head on a pipe, seemingly dying on impact.

Elvis vehemently claims to be done working on the radio the next morning when he learns that Dylan's death was yet another hoax, which comes when Dylan reveals himself to be a stunt worker named Max. The hoax is organized to celebrate Elvis' birthday, although he warns all of his co-workers that he will be planning something far worse than anything seen recently.

Who Is On the Line's Real Prankster?

While On the Line has fans believing there is a real and terrifying situation for most of the story, every moment from start to finish seems part of an almost sick and cruel prank.

It all starts with Mel Gibson's character's propensity for taking things slightly too far on and off the air, which leads to him being the target of a massive revenge scheme.

This comes after he helped orchestrate the film's core prank against his new employee, although it turns around on him when Dylan reveals the truth behind his own hijinks.

In the end, it is incredibly difficult to tell where the ideas for both pranks started or whether the radio station's team had ever done anything on that big of a scale before.

The film's ending also confirms that not only were there no real stakes to the story but that every character involved knew some prank was taking place.

While many fans surely felt some scares and thrills during the "kidnapping" and "hostage situation," there is no denying the end feels like a letdown, especially with more than one scheme to follow.

On the Line is now streaming on Netflix .

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On the line.

Common Sense Says
Parents Say 1 Review
Kids Say 1 Review

Common Sense Media Review

Violence, language in misguided low-budget thriller.

Parents Need to Know

Why Age 16+?

Extremely strong, frequent language: "f--k," "motherf----r," "shut the f--k up,"

Woman and child in peril. Guns and shooting; people get shot, and there are dead

Dialogue about infidelity, extramarital partners, etc. Sex-related dialogue.

Netflix mentioned.

Dialogue (DJ to caller): "are you drinking or on drugs?"

Any Positive Content?

Elvis seems to be a good dad when he's at home, but at the station and throughou

Most of the characters are White men. Elvis' female producer may be a woman of c

Part of the story is seemingly about revenge, but that changes. There's almost a

Extremely strong, frequent language: "f--k," "motherf----r," "shut the f--k up," "bulls--t," "piece of s--t," "a--hole," "son of a bitch," "d--khead," "pain in the ass," "pissed," "screwed," "damn," "jerk," "slut," "penis," "shut up."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Violence & Scariness

Woman and child in peril. Guns and shooting; people get shot, and there are dead bodies. Gunshot wound in head. Smeary blood trail. Character falls down stairs, hits head, bloody wound. Knife shown. Characters attacked, fighting, struggling. Gunshot sounds. Dialogue about killing dogs with poisoned meat. Dialogue about suicide.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Positive Role Models

Elvis seems to be a good dad when he's at home, but at the station and throughout the movie, his behavior is less than admirable. He's vulgar and sometimes rude, and he likes cruel practical jokes.

Diverse Representations

Most of the characters are White men. Elvis' female producer may be a woman of color, but it's not discussed/confirmed. He has another female boss at the station. There's a joke about a lobby guard; Elvis can't pronounce his name and just calls him "Bob." Later Elvis guesses that he's a "Buddhist," and the man replies that he's a Hindu.

Did we miss something on diversity? Suggest an update.

Positive Messages

Part of the story is seemingly about revenge, but that changes. There's almost a message about the consequences of pranks, but that's also negated by what comes next.

Parents need to know that On the Line is a thriller about a radio DJ ( Mel Gibson ) who must deal with a caller who's kidnapped his wife and daughter and planted explosives all around the station. It's an intriguing idea, but its many missteps make it a frustrating experience overall. Violence is intense and includes guns and shooting, fighting/struggling, a woman and child in peril, characters shot, dead bodies, bloody wounds, a blood trail, and more. There's dialogue about suicide and killing dogs with poisoned meat. Language is extremely strong, with uses of f--k," "motherf----r," "bulls--t," "piece of s--t," "a--hole," and more. Characters talk about sex, infidelity, and affairs, and dialogue mentions drinking and drugs. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Parent and Kid Reviews

Parents say (1)
Kids say (1)

Based on 1 parent review

What's the Story?

In ON THE LINE, "shock" radio DJ Elvis Cooney ( Mel Gibson ) reports to work for another midnight shift, where he regularly answers calls and talks with people. His producer, Mary (Alia Seror-O'Neill), is there, and a new kid, Dylan ( William Moseley ), is working the booth. A call comes in from "Gary," who says he's going to do something terrible that night. Elvis soon learns that Gary has Elvis' wife and daughter and is holding them at gunpoint, wanting revenge for something Elvis did in the past. When they discover that Gary is actually in the building and has rigged up several explosive devices, it's a race against time to find him and save lives.

Is It Any Good?

Using the idea of a radio show to get across much of its action, this low-budget thriller might have worked had it not made several missteps that will leave viewers feeling frustrated and annoyed. Indeed, by setting all of the action in one place and not showing the villain or the hostages for the first two-thirds of its running time, On the Line saves a great deal on its production budget. But there are problems. Elvis is supposed to be a "shock jock" -- i.e. a loudmouth who says controversial things -- but instead he's more like a therapist, listening to problems and offering encouragement. That's fine, of course, but hardly dramatic or thrilling.

Beyond Elvis, the other characters don't have much to do, including co-star Kevin Dillon , who's only there to have an argument with Elvis about time slots. But the villain is especially obnoxious, giving one of those standard "evil crazy guy" performances that feel so utterly generic. And then, you might ask, given that all of this is happening during Elvis' show and his listeners are tuning in, is it good radio? Or is it just a bunch of huffing and puffing as characters run all over the building? Would listeners tune out? (They should.) But the worst is yet to come, as the movie springs not one but two "twists" on us, both far more irritating than clever (especially given that they contradict previous events in the movie). Rather than cheers from its viewers, On the Line is far more likely to elicit radio silence.

Talk to Your Kids About ...

Families can talk about On the Line 's violence . How did it make you feel? Was it exciting? Shocking? What did the movie show or not show to achieve this effect? Why is that important?

Why do you think people enjoy practical jokes or pranks? Are they funny or cruel? Why?

Is it significant that Elvis works for two women? Do they have agency, or do we see them only in relation to Elvis?

How did you feel about the movie's twists at the end? How did they affect what came before?

Movie Details

In theaters : November 4, 2022
On DVD or streaming : November 4, 2022
Cast : Mel Gibson , Alia Seror-O'Neill , William Moseley
Director : Romuald Boulanger
Studio : Saban Films
Genre : Thriller
Run time : 104 minutes
MPAA rating : R
MPAA explanation : language throughout and some violent content
Last updated : September 7, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Flickering Myth

Geek Culture | Movies, TV, Comic Books & Video Games

Movie Review – On the Line (2022)

February 4, 2023 by Robert Kojder

On the Line , 2022.

Written and Directed by Romuald Boulanger. Starring Mel Gibson, Kevin Dillon, William Moseley, John Robinson, Nadia Farès, Alia Seror-O’Neill, Yoli Fuller, Yann Bean, Enrique Arce, Carole Weyers, Avant Strangel, John Robinson, and Paul Spera.

A host takes a call, where an unknown person threatens to kill the showman’s entire family on air. To save loved ones, the radio host will have to play a survival game and the only way to win is to find out the identity of the criminal.

Midnight-slot shock radio host Elvis Cooney (Mel Gibson) arrives at the Los Angeles-based broadcast building 15 minutes before showtime – the transition to the next day will also mark his birthday – where the night seems to be going off the rails in On the Line . An escaped mental patient shows up claiming to be the Messiah and begging to get on the airwaves to preach and spread awareness of his return, a rivalry is escalating between him and Kevin Dillon’s Justin, in possession of the coveted 8 PM starting time block, and someone has been stealing the computers.

Elvis has a habit of rubbing co-workers the wrong way but with the usual smarmy charm from Mel Gibson. Once the radio show begins – sitting opposite his co-host Mary (Alia Seror-O’Neill) and new hiree Dylan (William Moseley), Elvis also quickly emerges as a relatively entertaining guy to listen to as he walks callers through advice on several life problems. There’s also some mean-spirited hazing directed at the new guy for good measure.

Mel Gibson weaves together those characteristics (and some other flaws in his behavior that come to light) to portray a compelling character in a movie that doesn’t deserve his talent. I’m also aware some readers might disagree with that assessment based on their level of forgiveness for Mel Gibson as a human being, but trust when I say that On the Line is so tastelessly misguided that it doesn’t deserve any star power; the only thing the film deserves is to be buried somewhere where no one can find it.

After some normal calls (albeit interesting enough to keep us wondering if they come back into play later in the larger scope of the narrative), Elvis is connected to an unhinged man (Paul Spera) airing out controversial dirty secrets regarding his personal life that have come back to affect a loved one, who then goes on to threaten the lives of his wife and daughter assuring that he is outside their wealthy home and that he has already taken care of the guard dogs. Having served in Afghanistan, the diabolical psychopath also happens to be a demolitions expert that has hardwired the broadcast building to explode in 40 minutes.

The concept of a hostage situation done through a radio show starts off moderately suspenseful, but roughly 40 minutes in, On the Line begins stretching itself way beyond the scope of its immediate story and its bigger picture. Written and directed by Romuald Boulanger, the screenplay starts insulting itself, with the maniacal voice asking who came up with such B-grade movie plot devices.

Granted, there are reasons for this (oh yes, there are reasons, and it’s taking every bit of restraint in my willpower to avoid spoiling the trainwreck this film becomes), but they don’t offset how generic and bland the proceedings become. Some batshit nutty final 10 minutes also don’t do enough to recontextualize any of it since one is left aghast at what On the Line is attempting with games of consequence and cancel culture.

On the Line is never once good or grounded in logic, but usually tolerable in a dumb fun way that is elevated by Mel Gibson’s presence. Meanwhile, whoever thought the reveals would come anywhere close to working should be put on the line to answer for their cinematic crimes. They drain the goodwill from what there is to commend here. And while it is fitting for a film about shock radio to devolve into shock cinema, this is abysmal not because it wants to go to those places but more so that there is no sense behind whatever point the narrative is getting at. It’s shock value for the sake of shock, resulting in a shockingly stupid movie.

Flickering Myth Rating – Film: ★ / Movie: ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd , or email me at [email protected]

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On the Line Review: Preposterous Reveals Tank Mel Gibson Thriller

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Mel Gibson's Mark Wahlberg Action Thriller Gets Lengthy Release Delay

Rebel ridge review: this is how you f*cking do it, don cheadle's nsfw reaction to robert downey jr.'s mcu return summed up fan feelings.

An abrasive LA radio shock jock gets a terrifying comeuppance when a disgruntled listener kidnaps his family on air. On the Line could have been an entertaining thriller. It had the basic elements and premise to weave a heart-pounding narrative. Instead, we get an avalanche of stupidity that tanks the entire film. A barrage of bewildering last-minute reveals crashes with a thud. I had a feeling something was amiss but could never have predicted anything so mindbogglingly idiotic. You'll lose IQ points sitting through this nonsense.

Elvis Cooney ( Mel Gibson ) kisses his wife and young daughter before driving to the radio station for a late-night show. He can't pronounce the Indian guard's name, so decides to call him "Bob". Elvis and Bob have a bizarre encounter in the building lobby. Elvis heads to his studio and butts heads along the way. The 8PM host, Justin (Kevin Dillon), hates his guts. Justin knows Elvis wants his time slot. Sam (Nadia Farès), the station manager, warns Elvis his ratings are falling. He's too much of a jerk and pays little attention to their social media strategy.

Mary (Alia Seror-O'Neill), Elvis' producer and co-host, introduces the new board operator. Dylan (William Moseley) is fired immediately for accidentally insinuating that Elvis was old. Elvis breaks out into cackling laughter. He was just kidding. A rattled Dylan sits down to start their midnight program.

Elvis takes a few calls until Gary (Paul Spera) gets his attention. The halting Gary threatens to hurt someone before hanging up. Elvis calls back to try and calm him down. Gary's demeanor changes. He's breaking into a house. Smashing glass can be heard, followed by the screams of a woman. Gary puts Elvis' daughter on the phone. He'll kill her and his wife as revenge. A horrified Elvis begs to spare their lives. What has he done wrong? Gary has an elaborate plan to punish Elvis.

Related: The Estate Review: A Banner Cast Elevates Raunchy Comedy

On the Line's Wheels Fall Off

On the Line's first act works. Elvis is an arrogant bully . It's completely believable that an angry, deranged fan would want him dead. Elvis has had enough experience dealing with psychopaths to know that Gary means business. He needs to keep him engaged for his family to survive. Gary wants Elvis dead but first has to suffer. The film has you intrigued before the wheels fall off.

Gary's game takes a downhill turn when the radio station becomes the playing board. He's got bombs everywhere, drones in the air, and hacked into the security system to watch Elvis flounder about. The antagonist has planned for every scenario like a criminal mastermind. He gloats to the rapt radio audience as Elvis and Dylan try to find his location. Willing suspension of belief crumbles as On the Line fails the smell test. There's something fishy when bodies start piling up.

On the Line leads to a preposterous climax. An attempt to reframe the storyline is a colossal mistake. You'll feel cheated. It's honestly the dumbest ending I've seen in ages. I can't fathom what Gibson and the filmmakers were thinking. There may have to be a special Razzies category for this disaster.

On the Line is a production of BondIt Media Capital, CaliWood Pictures, R-Lines Productions, and Three Point Capital. It is currently in limited theatrical release and available on-demand from Saban Films .

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Warning: This article contains SPOILERS for On The Line (2022)

Elvis's prank on Dylan backfired when Dylan was in on the joke all along in On the Line.
Dylan, the supposed intern, turns out to be a professional stuntman in a major twist.
The action thriller satirizes the age of misinformation and media manipulation.

While the 2022 action thriller On The Line ’s ending is wild, the movie's major twist might annoy some viewers who expected a more serious and straightforward conclusion. On The Line follows Mel Gibson’s Elvis, a radio host with a penchant for dark practical jokes. After Elvis pranks his new intern, Dylan, he gets a disquieting call from a creepy guest. This guest claims to have Elvis’s family held hostage and begins psychologically torturing the host by putting him through a lengthy game of cat and mouse. Gibson’s antihero and his bumbling intern pretend to follow the caller’s instructions, but soon earn his ire.

The caller, Gary, reveals that he is getting revenge since Elvis’s thoughtless pranks led his girlfriend, Elvis’s former switchboard operator, to take her own life. Gary instructs Elvis to jump from the building’s roof, leading Dylan and Elvis to fake this feat. Discovering this deceit, Gary fires two shots over the phone, presumably killing Elvis’s family. When a devastated Elvis and Dylan return inside, Gary informs them that Elvis’s family isn't dead. Instead, they are somewhere in the building with bombs strapped to their chests. After a tense chase, Dylan and Elvis find them, but all is not as it seems.

Dylan Didn’t Really Die In On The Line’s Ending

Elvis’ prank on dylan backfired when dylan was in on the joke.

Dylan and Elvis discover the hostages and an LAPD officer arrives on the scene. Gary tells Dylan that he will let Elvis’s family live if Dylan dons their bomb vests instead and the intern selflessly agrees to this. However, when he puts on the vest and Gary kills the officer, nothing happens. It turns out that the entire ordeal was a mean-spirited, absurdly elaborate prank planned and pulled off by Elvis himself. On The Line ’s entire storyline was all a practical joke , something that Dylan can barely comprehend when it is revealed. Confused, Dylan falls down a stairway as he leaves.

Dylan dies instantly, breaking his neck on impact. A shaken Elvis quits his job on the spot and goes home, crushed by guilt. The next morning, he gets into a cab to turn himself in to the police. However, the driver is revealed to be his new intern. Dylan is alive and well since he was not an inexperienced intern at all, but rather a professional stuntman. In a wild twist, it turns out that everyone who was in on the prank that Elvis pulled on Dylan was secretly also planning an even bigger, more elaborate prank on Elvis. Elvis is thoroughly amused.

Elvis’s Prank Plan In On The Line Explained

Mel gibson’s shock jock collaborated with gary to fake the kidnapping.

Mel Gibson as Elvis yells into the mic in a scene from On The Line.

Elvis’s plan requires a bit of untangling since On The Line’ s central prank is so ambitious and immersive. The main twist is that Gary the kidnapper wasn’t a real criminal and Elvis never drove a co-worker to take their own life thanks to his tasteless pranks. Instead, Gary is a popular YouTube prankster who collaborated with Elvis , planning the prank as a live event that Elvis would broadcast to his listeners. Gary played the part of the kidnapper, inventing his vengeance-fueled backstory and hiring actors to play Elvis’s family over the phone. Meanwhile, Elvis played along to fool Dylan.

On The Line ’s ending makes it clear that Dylan must have also been in cahoots with Gary . Although he didn’t give this away when the prank was revealed, Dylan, the supposed intern, secretly knew Gary, the LAPD officer, and Elvis’s family were all actors. After all, for Dylan’s prank to work, he needed to pretend that Elvis’s practical joke was a success. Thus, Dylan was presumably working with all of Elvis’s co-workers to make it seem like he had no idea the prank was happening. This worked, since Elvis was thoroughly convinced when a dazed Dylan seemingly couldn’t understand the prank.

Dylan's Stuntman Role Twist Explained

Dylan wasn’t really a witless intern but rather a professional stuntman.

William Moseley's grinning Dylan stands in front of someone in On The Line 2022

Dylan’s real role is On The Line ’s biggest twist since Gibson’s antihero never seems all that trustworthy throughout the entire movie. Although Elvis has moments of humanity, the frequent references to his inane pranks and even Gary saying that the host’s pranks caused his partner endless anguish imply that the character has a dark side. Mel Gibson’s recent movie roles have seen him lean into a darker, nastier version of his earlier bad-boy screen persona, so it is not all that shocking when Elvis’s plan is finally revealed to Dylan. In contrast, Dylan’s real role is a much bigger surprise.

On The Line treats Dylan as an audience insertion persona and viewers are encouraged to view him as little more than an avatar. While Elvis is unpredictable and erratic, Dylan is meek, mild-mannered, and calm until things escalate into substantial danger. Once the situation gets out of hand, Dylan is understandably confused and terrified. The fact that he doesn’t pull off any moments of bravado or heroism until he accepts the bomb vests makes it seem like he is a young, clueless intern and not a professional stuntman. Thus, On The Line ’s final twist outdoes the movie’s earlier, more predictable revelation.

Did Elvis Learn Anything In On The Line’s Ending?

Gibson’s antihero ended up promising to prank his coworkers even worse.

Mel Gibson speaks on the mic in On The Line.

In a moment of dark hilarity that is the movie’s strongest gag, On The Line ’s protagonist learns less than nothing from his experience. Upon learning that the tragic death of his young co-worker was nothing but a joke, Elvis responds by warning his colleagues that his next prank will be even worse. The antihero seems darkly amused at the thought of concocting a scheme that will outdo the movie's nightmarish ordeal in a funny scene that proves Mel Gibson’s upcoming movies should continue exploring the actor’s darker side. This grim denouement is genuinely unexpected because Elvis so clearly needed a redemptive moment.

What On The Line’s Ending Really Means

The action thriller satirizes the age of misinformation.

William Moseley's Dylan looking terrified in On The Line 2022

Beyond allowing Gibson to chew the scenery, On The Line has no obvious purpose. Its story, a nesting doll of increasingly absurd twists, almost willfully defies analysis. However, underneath the increasingly byzantine double crosses, On The Line could be read as a downbeat satire of the misinformation age. A cynical media personality collaborates with a new generation of content creators to create an elaborate, pointless lie, only to learn that he himself is the victim of an even more immersive prank. Through this lens, On The Line 's story can be read as a condemnation of the broadcast media’s questionable veracity.

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The career of Mel Gibson, a former A-lister, has faltered due to off-screen indiscretions. He now seems to appear in a number of B-grade movies. And it’s unlikely that his latest film, On the Line – a claustrophobic thriller mainly set in one location – will resurrect his stalled career.

Gibson plays Elvis Cooney, an abrasive and rude shock jock who hosts a late-night talk show on an LA radio station who courts controversy. His boss (Nadia Fares) warns him that, one day, he may go too far on the air. She also urges him to use social media to raise his profile. But on this night, when he’s breaking in eager new intern Dylan (William Moseley), the show is far from routine.

A caller named Gary (Paul Spera) phones in and threatens Elvis, claiming that because Elvis ruined his life, he’s going to ruin him. He wants Elvis to learn a vital lesson about how words have consequences. Insisting that Elvis not cut him off, he threatens Elvis’ wife and young daughter. Gary says that Elvis abused a female employee at the radio station, who subsequently committed suicide. He forces Elvis to answer a couple of deeply personal questions truthfully before turning the screws further. The sounds of gunshots and breaking glass set in motion a deadly cat-and-mouse game between Elvis and Gary as he desperately tries to learn the caller’s identity. Gary insists that Elvis stay on the line or else something bad will happen to his family. Elvis and Dylan prowl the deserted stairways, corridors and offices of the radio station searching for clues. They discover that the doors and car park of the station have been wired with explosives, which further increases the tension of this ticking-clock scenario. And as the drama plays out live on the airwaves, listeners post comments on the social media feed.

French filmmaker Romuald Boulanger writes and directs On the Line, and this marks his English language feature debut. Like Phone Booth and the recent The Guilty, much of the action plays out in a single location and seemingly in real time, which adds to the tension. With its central plot featuring a radio station talk show host, On the Line also shares elements with Oliver Stone’s 1988 drama Talk Radio, which featured Eric Bogosian as a rude shock jock, the 1995 Korean drama Midnight Caller, and the short-lived 90s TV series Midnight Caller, in which Gary Cole starred as a former detective turned talk show host who helped solve problems for callers. Boulanger leavens the tension with touches of black humour.

On the Line offers an intriguing premise and Boulanger effectively maintains the suspense for two-thirds of the film. However, it’s ultimately let down by too many twists that become increasingly convoluted and unbelievable; and a clunky ending that will disappoint many. It seems as if Boulanger painted himself into a corner and didn’t know how to satisfactorily resolve the situation, so took the lazy way out.

The main strength of the film though is Gibson’s strong performance as the obnoxious and arrogant Elvis. He’s on screen the whole time and has a commanding presence that reminds us of his heyday as a bona fide film star and box office draw. Spera ( On the Basis of Sex ) brings a sense of menace to his role as the disembodied voice of the mysterious caller. The cast also includes Alia Seror-O’Neill as Mary, Elvis’ producer, and Kevin Dillon in a small role as a rival disc jockey.

Although set in Los Angeles, much of On the Line was shot in Paris. Cinematographer Xavier Castro uses handheld cameras and over-the-shoulder POV shots to increase the tension. There’s also some good production design from Emmanuel Reveillere, which creates the radio station interiors.

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Greg King has had a life long love of films. He has been reviewing popular films for over 15 years. Since 1994, he has been the film reviewer for BEAT magazine. His reviews have also appeared in the Herald Sun newspaper, S-Press, Stage Whispers, and a number of other magazines, newspapers and web sites. Greg contributes to The Blurb on film

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Cast & crew

On the Line

Alderney, UK. 1964. A telephone operator ends up being the pivotal piece of a drama unfurling which puts professional integrity, and relationships, to the test. Alderney, UK. 1964. A telephone operator ends up being the pivotal piece of a drama unfurling which puts professional integrity, and relationships, to the test. Alderney, UK. 1964. A telephone operator ends up being the pivotal piece of a drama unfurling which puts professional integrity, and relationships, to the test.

Oliver Pearn
Victoria Lucie
Royce Pierreson
Harriet Walter
14 Critic reviews
2 wins & 2 nominations

Top cast 17

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Runtime 1 hour 14 minutes

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1 hr 44 mins
Drama, Suspense
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Pluto tv’s katharina feistauer joins mubi in global programming push, toronto film festival 2024: all of deadline’s movie reviews.

By Pete Hammond , Damon Wise , Matthew Carey

Toronto Film Festival 2024 movie reviews

The Toronto Film Festival kicked off September 5 with a multi-move opening night that included David Gordon Green’s family comedy Nutcrackers starring Ben Stiller. It kicked off a slate of world premieres and buzzy movies across 11 days for the 49th edition of one of North America’s biggest film festivals.

Other key titles making their debuts in Toronto include The Luckiest Man in America starring Paul Walter Hauser, the Amy Adams-starring Nightbitch , theatre guru Marianne Elliott’s The Salt Path , DreamWorks Animation’s The Wild Robot and Mike Flanagan’s The Life of Chuck .

Deadline Studio At TIFF 2024: Selena Gomez, Elizabeth Olsen, Mikey Madison & More

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Click below to read Deadline’s reviews from the ground in Toronto and keep checking back as we add more. The festival wraps September 15.

The Assessment

Section: Special Presentations Director: Fleur Fortune Cast: Alicia Vikander, Elizabeth Olsen, Himesh Patel, Minnie Driver, Indira Varria, Nicholas Pinnock, Charlotte Richie, Leah Harvey Deadline’s takeaway: The Assessment is dramatically compelling, especially since in our f*cked-up world today the implausible is suddenly becoming the plausible, and with government interference involving what women can — and can’t — do with their own bodies becoming the law in many states, who is to say a frightening future administration just might take us all down this rabbit hole?

Bonjour Tristesse

Section: Discovery Director-screenwriter: Durga Chew Bose Cast: Chloe Sevigny, Claes Bang, Lily McInerny, Nailia Harzoune, Aliocha Schneider, Nathalie Richard Deadline’s takeaway: This in debuting Montreal-based director and screenwriter Durga Chew Bose‘s hands feels more true to Françoise Sagan’s novel and becomes a more complex tale of the nature of female relationships, the mysteries within and their winding paths.

Hard Truths

The Last Showgirl

Section: Special Presentations Director: Gia Coppola Cast: Pamela Anderson, Dave Bautista, Jamie Lee Curtis, Kiernan Shipka, Brenda Song, Billie Lourd, Jason Schwartzman Deadline’s takeaway: This look at the lives of the infamous Vegas showgirls is smart, touching, funny, honest and wise. It’s Pamela Anderson’s moment to shine and, boy does she ever shine — right up to an ending that leaves us hopeful.

The Luckiest Man in America

Section: Special Presentations Director: Samir Oliveros Cast: Paul Walter Hauser, Walton Goggins, Shamier Anderson, David Strathairn, Maisie Williams, Patti Harrison, Johnny Knoxville, Haley Bennett, Shaunette Renee Wilson, Brian Geraghty, Lilli Kay, James Wolk Deadline’s takeaway: With Hauser in charge, this whole scenario keeps us engaged thanks to the actor’s ability to breathe some humanity into these oddball characters. You can see why he couldn’t resist this one.

Nutcrackers

Section: Gala Presentations Director: David Gordon Green Cast: Ben Stiller, Linda Cardellini, Tim Heidecker, Edi Patterson, Toby Huss, Homer Janson, Ulysses Janson, Atlas Janson, Arlo Janson Deadline’s takeaway: This is the kind of movie Hollywood used to deliver all the time but has clearly forgotten how to make — until now. Among the inspirations for director David Gordon Green were The Bad News Bears , Six Pack , Uncle Buck and Overboard . You might expect John Hughes was back from the dead, along with this genre.

Unstoppable

Section: Gala Presentations Director: William Goldenberg Cast: Jharrel Jerome, Jennifer Lopez, Bobby Cannavale, Don Cheadle, Michael Peña Deadline’s takeaway: You really can’t compare Unstoppable to any inspiring sports drama that has come before, either in terms of what the main subject has achieved in athletics or the obstacles he had to overcome at home. Its fate rests on the ability of star Jharrel Jerome, in making us root for him and to believe .

We Live In Time

Section: Special Presentations Director: John Crowley Cast: Andrew Garfield, Florence Pugh, Heather Cranney, Matt Kennard, Sam Kennard, Laura Guest Deadline’s takeaway: Through it all in Nick Payne’s sharply written screenplay we add up the individual pieces we are being presented and get a strong picture of Pugh’s and Garfield’s characters, something that wouldn’t be possible in a more linear structure. If we didn’t believe these two were destined for each other, the whole soufflé would fall. It doesn’t, but the fact Crowley is in charge should guarantee it won’t.

The Wild Robot

Section: Gala Presentations Director-screenwriter: Chris Sanders Voice cast: Lupita Nyong’o, Pedro Pascal, Kit Connor, Bill Nighy, Stephanie Hsu, Matt Berry, Ving Rhames, Mark Hamill, Catherine O’Hara Deadline’s takeaway: If Spielberg’s E.T. had been an animated film instead it might resemble what writer-director Chris Sanders has created here: beautiful animation and a smart script that has equal humor, action, heart and lessons to be learned for any age.

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This 97% Fresh Classic Is a Great Screwball Comedy and a Class Satire

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My Man Godfrey is an iconic 1936 screwball comedy stylishly directed by Gregory La Cava . The classic comedy stars William Powell and Carole Lombard as Godfrey and Irene, whose dazzling timing and sizzling chemistry captivated the screen. The snappy, fast-paced satire about the eccentricities of the rich , which enjoys a 97% critics score on Rotten Tomatoes .

The “Screwball” sub-genre was a zany romantic comedy farce that became popular in the 1930s with Platinum Blonde (1931) and ran its course by the end of the 40s with I Was A Male War Bride (1949). It was characterized by rapid action and dialogue, a preoccupation with the foibles of the rich, and satirical commentaries on romance, marriage, divorce, cohabitation, celebrity, politics, social inequity, petty crime, journalism, and the military. It was born as a response to the misery of the Great Depression and killed by the traumas of World War II. My Man Godfrey remains one of the genre's definitive examples.

What Is ‘My Man Godfrey’ About?

Carole Lombard as Irene Bullock and William Powell as Godrey Parks in My Man Godfrey

The movie begins with a slow pan (establishing both the setting and central conflict of the film) from luxury high-rise apartments, past the skyline of New York, zeroing in on a lone figure sitting by a fire in a Hooverville — a makeshift encampment for the unhoused named after President Herbert Hoover — amid piles of garbage by the city dump and the foul-smelling riverfront. The lone figure is Godfrey Smith (Powell), bearded, disheveled, and surrounded by other homeless men. A luxury car pulls up to the encampment and stops. Wealthy Irene (Lombard) and her older sister Cornelia Bullock ( Gail Patrick ), clad in furs, gowns, and jewels, step out of the car gingerly and approach the startled men. Cornelia offers Godfrey five dollars to follow her to a party at the Waldorf Hotel. When he asks why, she explains she is part of a scavenger hunt, and she is looking for a “forgotten man” (a homeless man, particularly a homeless World War I veteran).

Insulted by her insensitivity, Godfrey causes Cornelia to fall into an ash heap, and she storms off. Her sister Irene stays and apologizes to Godfrey, who starts a conversation. Irene admits, “You know, I’ve decided I don’t want to play games with human beings as objects. It’s sort of sordid when you think about it.” Godfrey decides to help Irene win the scavenger hunt and beat Cornelia, which they do. Overjoyed to have bested her spoiled sister, Irene offers to do something in return for Godfrey and he asks for a job. She says that their butler has just quit and offers him the job. Much to the shock and chagrin of Cornelia and their mother, Alexandra ( Alice Brady ), he accepts and arrives the next day clean-shaven and fitted out as a proper butler. He quickly begins adjusting to and dealing with the eccentric family’s quirks with impeccable style and professionalism.

Carole Lombard and William Powell in My Man Godfrey, Clark Gable and Claudette Colbert in It Happened One Night, Cary Grant and Katharine Hepburn in Bringing Up Baby

The 10 Greatest Classic Screwball Comedy Movies, According to Reddit

There's nothing like the classics.

The complications begin when Irene takes one look at Godfrey, newly cleaned and dressed, and becomes immediately infatuated, declaring, “You're the cutest thing I've ever seen!” She decides to adopt him as her protégé. Godfrey spends most of the movie resisting Irene’s increasingly ridiculous, desperate, and repeated best efforts to woo him . The complex plot continues with a series of funny reversals, surprises, and twists on its way to an unlikely happy-ever-after ending.

‘My Man Godfrey’ Is Still Relevant Today

The film wastes no time establishing its primary subject matter by taking a magnifying glass to the concerns of the wealthy and the poor . The contrast between Godfrey, Irene, and her family could not be more immediately striking. Today, the story remains relevant . Sadly, the human condition hasn’t changed so much over time. However, the secret to My Man Godfrey 's success is, first and foremost, the writing by Morrie Ryskind and Eric Hatch (from his novel), without which nothing else could have happened. The laugh lines come one after another in rapid succession for much of the first act, hooking the viewer. Once the film gets going, the highlight comes when Godfrey explains to Irene why he is not husband material for her , sharing his larger vision for his future as they wash dishes together. He is very loving and warm, and the scene comes off as a father giving loving advice to a beloved daughter.

Though a screwball comedy, the movie does not shy away from its more serious themes . It reminds us that social status is often a matter of luck, with money and circumstance being the key dividers between people who are otherwise the same. For Godfrey, the difference is having a job, and he is immediately good at this one. He expresses his gratitude and satisfaction in the simple act of doing his work well — cliché, but true.

Finally, while the film is a comedy, it also touches on themes of obsession and harassment; the difference from more serious portrayals of the subject matter lies in the tone . Irene’s charmingly scatterbrained demeanor softens her actions, making them seem less threatening. Her wealth also plays a role, and Lombard’s innate and unmistakable intelligence makes it hard to see her as truly unstable. We accept the comedic elements because her performance is so endearingly cute and funny.

‘My Man Godfrey’ Scored Nominations in the Four Major Acting Categories at the Oscars

The ensemble cast of My Man Godfrey in a living room

Much of the success of My Man Godfrey is because of its superlative ensemble cast . At the heart of the picture is the vivacious Carole Lombard , joyously natural and funny. Powell is right behind her, at his best, in a wonderfully straight role. Still, his comic reactions to the funny business around him are a masterclass: arched eyebrows, beautifully timed pauses, deadpan embarrassment, studied disinterest, and delightfully dry sarcasm. Powell and Eugene Pallette ( The Adventures of Robin Hood ) as Mr. Bullock — the paterfamilias — are the calm centers of the household storm.

Alice Brady is perfect as the mother , an older, even more frenetic, version of Lombard herself. Gail Patrick, as Cornelia, is glamorous, brunette, spoiled, wicked, and has a marvelous arc, finally contrite at the end. The square-faced straight man, Alan Mowbray , serves his purpose as a friend from Godfrey’s past, allowing us to hear Godfrey speak freely and fill in his mysterious background. Jean Dixon is dryly wonderful as Molly, the impervious wisecracking maid. Perfect comic types like veterans Franklin Pangborn ( Flying Down To Rio ) and Grady Sutton ( The Bank Dick ) make delightful appearances in minor roles. Lombard, Powell, Brady, and Mischa Auer were all nominated for acting Oscars; this was the first time a single movie was nominated in all four top acting categories .

Behind the camera, Gregory LaCava ( Stage Door ) delivered a movie with style, pace, and, believe it or not, perfect understatement. Ted Tetlaff ’s photography shimmers and flatters while Charles Previn ’s music becomes part of the storytelling. All of these allow My Man Godfrey to age like fine wine , rather than decomposing. Still funny, still sweet, still relevant, and still moving.

My Man Godfrey is currently available to stream on Hoopla in the U.S.

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COMMENTS

On the Line (2022)
On the Line (2022)
Mel Gibson 'On the Line' Netflix Review: Stream It or Skip It?
Stream It or Skip It: 'On the Line' on Netflix, With Mel Gibson Racing to Save His Family (Again) By Jesse Hassenger @ rockmarooned. Published March 25, 2024, 5:30 p.m. ET. On the Line, now ...
Is On The Line Worth Watching? Breaking Down The Mel Gibson Movie's
Is On The Line Worth Watching? Breaking Down The Mel ...
On the Line (2022)
On the Line: Directed by Romuald Boulanger. With Mel Gibson, William Moseley, Alia Seror-O'Neill, Paul Spera. A host takes a call, where an unknown person threatens to kill the showman's entire family on air. To save loved ones, the radio host will have to play a survival game and the only way to win is to find out the identity of the criminal.
On The Line movie review & film summary (2001)
On The Line. 85 minutes ‧ PG ‧ 2001. Roger Ebert. October 26, 2001. 4 min read. J ust when you think a dating movie can't conceivably involve more impossible coincidences and Idiot Plot situations, along comes another movie to prove you wrong. After "Serendipity," here is "On the Line," starring Lance Bass of 'N Sync in an ...
On the Line (2023)
Rated: 8/10 • Sep 23, 2023. Although On The Line is scrappy and resourceful, the filmmaker's ambitions outweigh his execution in crafting a single location and single character movie. There ...
On the Line
Full Review | Original Score: 2.5/5 | Mar 27, 2023. The acting is across-the-board woeful, with Gibson all-but sleepwalking through his role, and the preposterous denouement serves only to ...
On the Line (2022)
It was basically a double joke ending in a movie that is advertised as being an intense thriller. Had it not turned into The Game (1997) meets April Fool's Day (1986) in the end, this could have been at least a 7. But the ending just left me empty. 6/10. Great Fun. martimusross 11 August 2023. On The Line.
On the Line
The plot is either tried-and-true or driven-into-the-ground, depending on how you look at it. Kevin meets the perfect girl on the Chicago "L" (elevated rail). They chat madly for a couple of minutes, bond over the Cubbies, and recite all the American presidents from Washington to Bush. It's true love for Kevin and Abbey.
REVIEW: "On the Line" (2022)
REVIEW: "On the Line" (2022) Several actors have found new life in the world of VOD. What started in earnest during the VHS video tape era is now thriving with Video On Demand. Prior to the sad news of his retirement due to health problems, Bruce Willis was putting out several of these low-budget, straight-to-VOD action-thrillers per year ...
On the Line (2022) Review
A radio host is targeted by a violent caller who threatens his family in this thriller directed by Romuald Boulanger and starring Mel Gibson. The movie has a functional plot, decent characters, and some tense moments, but the ending is disappointing and subversive.
On The Line (2022) Movie Review
Ultimately, On The Line is a missed opportunity. It could have been a decent thriller but after a strong first half, it quickly starts to lose its way. Therefore, this is probably a movie you should ignore, even if you are a fan of its lead actor. If your friend calls you up and recommends it to you, that phone call is probably one you should ...
On The Line (2023) Movie Review
Review. Pramila Tripathi April 26, 2024. "On the Line," a film shot inside a single room with multiple wires around, might feel claustrophobic after a point. All it shows is one woman in that room, connecting calls on the island of Alderney in 1964. It was a time when people could not get connected to each other without another human being ...
On the Line
Release Date Nov 4, 2022. Duration 1 h 44 m. Rating R. Genres. Thriller. Website https://amzn.to/3DV6Px2. A provocative and edgy overnight radio host (Mel Gibson) must play a dangerous game of cat and mouse with a mysterious caller who has kidnapped his family and is threatening to kill them and blow up the whole station... all while live on air.
On the Line Movie's Wild Ending Explained
On the Line is a 2022 film starring Mel Gibson as a radio host who faces a fake kidnapping and bomb threat. The movie reveals that it is all a prank orchestrated by his co-workers and new intern, but the ending feels like a letdown for some viewers.
On the Line Movie Review
Parents need to know that On the Line is a thriller about a radio DJ who must deal with a caller who's kidnapped his wife and daughter and planted explosives all around the station.It's an intriguing idea, but its many missteps make it a frustrating experience overall. Violence is intense and includes guns and shooting, fighting/struggling, a woman and child in peril, characters shot, dead ...
Movie Review
On the Line, 2022. Written and Directed by Romuald Boulanger. Starring Mel Gibson, Kevin Dillon, William Moseley, John Robinson, Nadia Farès, Alia Seror-O'Neill, Yoli Fuller, Yann Bean, Enrique ...
On the Line Review: Preposterous Reveals Tank Mel Gibson ...
On the Line's first act works. Elvis is an arrogant bully.It's completely believable that an angry, deranged fan would want him dead. Elvis has had enough experience dealing with psychopaths to ...
On The Line's Twist Ending Explained
The action thriller satirizes the age of misinformation and media manipulation. While the 2022 action thriller On The Line 's ending is wild, the movie's major twist might annoy some viewers who expected a more serious and straightforward conclusion. On The Line follows Mel Gibson's Elvis, a radio host with a penchant for dark practical jokes.
On the Line
Although set in Los Angeles, much of On the Line was shot in Paris. Cinematographer Xavier Castro uses handheld cameras and over-the-shoulder POV shots to increase the tension. There's also some good production design from Emmanuel Reveillere, which creates the radio station interiors. Greg King Other reviews you might enjoy: Elvis - movie ...
On the Line (2023)
On the Line: Directed by Oliver Pearn. With Victoria Lucie, Royce Pierreson, Harriet Walter, Joanne Rogers. Alderney, UK. 1964. A telephone operator ends up being the pivotal piece of a drama unfurling which puts professional integrity, and relationships, to the test.
On The Line
A provocative and edgy radio host must play a dangerous game of cat and mouse with a mysterious caller who's kidnapped his family and is threatening to blow up the whole station.
Toronto Film Festival 2024: All Of Deadline's Movie Reviews
The Toronto Film Festival kicked off September 5 with a multi-move opening night that included David Gordon Green's family comedy Nutcrackers starring Ben Stiller. It kicked off a slate of world ...
This 97% Fresh Classic Is a Great Screwball Comedy and a Class Satire
The movie begins with a slow pan (establishing both the setting and central conflict of the film) from luxury high-rise apartments, past the skyline of New York, zeroing in on a lone figure ...

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REVIEW: “On the Line” (2022)

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