PROS: COLIN FARREL isn't a bad actor, nor is he bad to look at. But in all seriousness, the acting wasn't too bad. Most of the time the characters were stagnant, even the person on the phone, but they were more good than bad on average. That's why it's a pro.CONS: The movie was wicked boring. When you have a one location thriller it becomes vital that you find something in that one location that could help influence the depth of the story. I felt that the director trapped himself in a corner when he chose this location. He ended up relying too heavily on character development to make the story scary, but that was a poor decision. It was a questionable choice because the actors were mediocre, and a movie that relies so heavily on acting (like the director anticipated) needs to have that something special to propel the movie forward. Since they didn't have this the movie fell flat. To summarize this bit, you had a man standing in a box with nothing really captivating or alluring to keep you watching and the only thing you did have to watch was OK actors waiting to say their lines. If that snippet wasn't enough, the ending was horrific. Not in like horror meaning scary, like horror meaning omg this is awful. The end sort of takes everything that was done in the movie and throws it away, in a garbage can, that then goes to the landfill, then gets squished and incinerated. That was how bad the end was, and that was all to top off a boring movie with a man standing talking with a stranger for 2 hours.www.chorror.com

Loved it! ...Even after I re-watched it third time. Obviously they don't give Oscars for this type of genre, but if a person were to receive one without even making a single appearance in the film then it'd be TheCaller...just for his voice acting which held his weight and tremendous personality.

I could see myself watching this again, although that's mostly for Forest Whitaker's alternately balletic and swaggering performance (the best big-screen fat man since Jackie Gleason's 'Minnesota Fats?), and the dialogue that Kiefer Sutherland gets to speak, and his demonic cackle.The phone booth of the title is located in mid-town Manhattan, and it's special for being the booth that fast-talking, lying, cheating publicist (Colin Farrell) uses for making motel dates with his girlfriend, because he knows his wife checks his cell-phone bills. Kiefer's an embittered crack-shot tech-wiz ex-Vietnam vet. psycho who's set himself up as some kind of moral arbiter (versatile, isn't he?); he's privy to Farrell's work and play mis-steps, and decides he's fair game for atonement (His previous targets - ultimately, victims - were proper criminals, which would cause one to question his basis of target-selection, given small-time Farrell's inclusion on his list. But at least he claims that he's prepared to set Farrell free, if the degree of his atonement warrants it.)Given that the movie is set almost entirely in and around the phone- booth it's something of a high-wire act to maintain a viewer's interest. That's partly overcome by Kiefer's frequently hilarious demands, and the almost staggering incompetence of the small army of cops that descend on the scene, 'Dog Day Afternoon'-style. But once Forest Whitaker arrives, you know you'll not want to take your eyes off the screen for a split second.Colin Farrell's is a somewhat thankless task, given the character he portrays, and the confined space he has to operate in - in contrast to the wide open spaces available to Whitaker - but I think he pretty much wrings every last inch out of his dialogue, and his reactions to Kiefer's demands. Which frequently cut me up; credit to him for keeping a straight face, throughout. And, given that he's playing a liar and a cheat, there's always the possibility that those tears, and those cries of anguish, are fake.But despite Farrell's tour-de-force performance, Forrest Whitaker bestrides this film like a colossus, in more ways than one.Of course, once you see Larry Cohen's screenplay credit you know it's going to be chock-full of implausibilities, and no little black humour, and it didn't disappoint. But the much-maligned Mr. Schumacher must bear substantial credit for pulling all the strings together, without you seeing the joins. Watch, and enjoy - without prejudice.

Those members who whined and gave this a bad review are obviously from a planet where every film made is either Godfather or Matrix.OK, by now we all now the secret behind films like this, the "high concept" stuff that Hollywood insiders pine for. Get the best talent in the biz, in front of, and behind, the camera. And make the budget so attractive that you could raise money from your own accountant over lunch if you had to.And then -- the challenge -- do it, and see if you pull it off.And they did. When these films (two guys in an elevator, a guy hanging from a canyon, a woman lost in space) work, it is a joy to behold.Perfect. Engages from beginning to end.