Shadow in the Cloud

audience Reviews

, 31% Audience Score
  • Rating: 1 out of 5 stars
    Worst acting ever, crap storyline, so BORING, unrealistic and worst special effects, I want a refund... Doesn't even deserve 1 star..
  • Rating: 1 out of 5 stars
    Cámara was focused only on one actor the whole time. one angle. Story was not so great being a ww2 type film. This movie legit sucked they added a lot of suspense. Was really disappointed
  • Rating: 5 out of 5 stars
    Just suspend you belief in reality and just unjoy the craziness.
  • Rating: 3 out of 5 stars
    “You have no idea how far I'll go!” So I watched Shadow in the Cloud. Going in I had the basics down. It follows female WWII pilot traveling with top secret documents on a B-17 Flying Fortress who encounters an evil presence on board the flight. That description is completely accurate. However, no one told me how crazy this movie was going to be. The first half really had me engaged. Since we’re secluded with Chloë Grace Moretz as Maude for 40 minutes, we can get a great feel for her. I did like her character and she showcased some pretty good acting that I haven’t seen from her before. Also, the script is good during that time. Sometimes it could be hard to decipher who all was talking over the intercom. During that time with Maude, there’s a several other men on board, but we only really know them through the intercom. Briefly do we get to know their faces before not seeing them again till halfway through. For only hearing their voices, their characters have a clear motive and personality — mainly for us and Maude to get frustrated with. At the halfway mark, things start to get out of hand. A reveal is made that throws the vibe off a bit. I could get behind it after a few minutes as little sense as it made. Then everything completely goes off the rails. By now, we had a couple scenes that weren’t meant to be taken seriously, but they took that to a whole new level. Rather than what we think it is, it turns into a B-horror/action movie. The events are nonsensical, the gore becomes more frequent, the CGI is horrendous, needless to say it’s just crazy. There’s a certain charm to it, though, that makes it extremely entertaining and comedic. Several scenes actually had me laugh-out-loud but in a good way. The whole aesthetic of that second half feels so lovely paying homage to those cheesy b-horror movies from the 70s and 80s. Even the score has a synth sound and the cinematography is dark with neon colors popping out. I really liked those aspects. As much fun as I had, I do really wish they had stuck to one tone. Had the switch from “this is a serious movie” to “you don’t have to take this seriously” weren’t so awkward, I would’ve liked it a lot more. Right now, even after over a week since watching, I still feel indifferent, but I think I liked what I watched. Shadow in the Cloud is really interesting in its approach that will make you either really like it, hate it, or feel pretty indifferent just like me.
  • Rating: 2 out of 5 stars
    What in the name of god did I just watch? Seems anybody can be a writer these days.
  • Rating: 0.5 out of 5 stars
    I have no idea why so many critics like this film. It is such a fundamentally flawed story as to be utterly nonsensical. The critical consensus: "...doesn't always blend its ingredients evenly," is the most generous take you could possibly imagination. Why it got such a universal pass by the critics is mind-boggling. There is absolutely no blending. There is no sense to this film. A major, MAJOR part of the plot goes completely unexplained. And when the explanation for the rest does arrive, I dare you not to laugh at loud. I kept waiting for a twist that would redeem the mid-film reveal as to the heroine's mission but no. What you see is what you get, and it is ludicrous. Elements are thrown in to make the film appear more interesting, but are given no explanation or grounding with the plot. Seriously, I really want to know why the critics in toto give this a good review while countless other, far more competent films get pilloried. tl;dr: This was a terrible film.
  • Rating: 0.5 out of 5 stars
    Stupidest movie ever!! You couldn’t pay me enough to go see again.
  • Rating: 4.5 out of 5 stars
    Saw this last night with my son here in Australia and LOVED it. From the trailer was expecting a 2.5 at best, instead got a brilliant piece of clever storytelling. While it is sometimes silly, it's an Indiana Jones and the Last Crusade silly (remember the burning fighter plane racing Indy and dad down the tunnel?) that is still massively fun. Chloe Grace Moretz gives a masterfully layered, thrilling performance and is a delight to watch start to finish. Wonderful claustrophobic feel to the first half where where it combines rising fear with theatre of the mind. I really enjoyed the twists and especially the idea that there's no explanation for the gremlin. Where does it come from, why is it there... no, it simply is and while some may say that's lazy story telling, I think it's an inspired breakaway from traditional Hollywood formula. The first 45 minutes of utterly rampant misogynist is indeed cringeworthy, but it's accurate and important for the character.. This one is a winner.
  • Rating: 0.5 out of 5 stars
    It could of been good if she didn't spend literally three quarters of the movie in that one gunner hole ...and if they didn't go way way way out of their way to paint all men as evil bastards ...it's stupid ..the movie had a good premise but ruined totally by virtue signalling bull ...it's unwatchable after you realise the miserable crap message that they lyingly push ..it's just dribble and it could of been good ...I guess babies are cool with being in a leather bag for hours and never cry ..that parts so stupid...one of the worst pieces of trash
  • Rating: 3 out of 5 stars
    The pitch meeting for Roseanne Liang's "Shadow in the Cloud" is one I would kill to have witnessed. It's about thirty-eight different films crammed into one, starting off 2021 with a bizarre little trainwreck of a thriller that, despite its shameless tonal imbalance and spotty production value, makes for an unforgettably weird experience. It's absolutely bananas -- and I respect that! It's the height of World War II, and Flight Officer Maude Garrett (Chloë Grace Moretz) has been commissioned to deliver top-secret cargo contained in a document bag on board "The Fool's Errand," a B-17 bomber with an entirely-male crew who aren't expecting her arrival and immediately greet her with misogynistic ridicule before she can assert her harrowing history with air warfare that makes her the most skilled and experienced soldier on the aircraft. There's much more about this flight guest to be revealed, but, to begin, she insists that her cargo must be protected at all costs. But, when the crew tosses her below deck to the cramped turret, it's clear there's not enough room for her to stay with the mysterious cargo herself. She reluctantly leaves the bag with, seemingly, her only friend on board, Staff Sergeant Walter Quaid (Taylor John Smith), and quarters in the claustrophobic Sperry below. There, she'll come face to face with freakish, demonic creatures from the sky, and, as she struggles to get the crew above to comprehend the dangers that lie ahead, everyone on that plane will discover that such comprehension is impossible. At an eighty-three-minute runtime, this is already an extremely brief aerial adventure and the gimmick for about the first fifty minutes is that we never expand beyond the confines of the turret with Maude as the action takes place entirely from Moretz's claustrophobic POV. This uncharacteristic act of restraint for this bombastic parade of dizzying plot curveballs allows for interesting methods of inventive storytelling. During this period, the rest of the cast is essentially relegated to voiceover performances and Maude is forced to communicate the perils she's experiencing to deaf ears while she, and we, are deprived of any visuals of the peripheral action. This makes for a gripping and often stressful first two acts, but the trouble with this approach, like the structure of any contained thriller, is the constant struggle to give our heroine something to do. And when the script finally runs out of perils for Maude to encounter while stuck in the Sperry, it's forced to let her out. Then, the plot officially flies off the rails. I'm providing zero plot particulars because, at this point, we've already reached our fifth or sixth twist that effectively reshapes almost every detail of my summary, but what follows Maude's escape from the turret is essentially a game of Out-Twist the Twist in which the screenwriters make it their goal to redefine as many facets of this story as they can as quickly as humanly possible before we reach the end. It's EXHAUSTING, but it's such a devoted effort at giving the audience whiplash that I kind of dug it. I even audibly muttered, "What is happening?" almost as a reflex. You won't know what I mean until you see the film, but there's not a single surprise associated with her character that settles before a new one is provided... while new threats fly in left and right... including giant, bloodthirsty gremlins. This is what we're dealing with. But, eventually, the movie becomes about so many things that it becomes about nothing. Last week, I confessed in my review for "Wonder Woman 1984" that I failed to picture the ultimate vision behind the material because it was such a long movie with so many moving parts in service of such shallow themes. In a sort of backward effect, I'm having that same failure to grasp any sort of concrete vision here, but only because the film kept cramming more and more stuff into its tight runtime that I lost sight of what the movie was trying to say. Actually, I think the movie might've lost sight of what the movie was trying to say. But I was never bored. There are some films that pose this kind of rollercoaster pacing and excess of story beats that it all just becomes static, but "Shadow in the Cloud" manages to maintain a certain level of intrigue by out-weirding itself at every turn. There's a charm to its cheapness -- like the scene where Maude is forced to climb on the outside of the plane to escape the jammed turret and the crummy green screen makes her perils look less like a woman thousands of miles in the air holding on for dear life and more like an extraordinary demonstration of upper body strength on a very windy day. It's lame, but oddly comforting. Some days you just need a B-movie.