Urban Explorer

A Papermoon Films presentation in colaboration with Rialto Film and MH Films. (Worldwide sales: Accelerator, Studio City/London.) Created by Oliver Thau. Executive producers, Felix Wendlandt, Martin Hellstern. Directed, edited by Andy Fetscher. Script, Martin Thau.With: Nathalie Kelley, Nick Eversman, Max Riemelt, Catherine p Lean, Brenda Koo, Klaus Stiglmeier. (British, German dialogue)The youthful-people-in-distress subgenre is nudged toward human-scale horror in director-editor-lenser Andy Fetscher's effective second feature, "Urban Explorer." Firmly situated and shot within the Berlin subterranean, pic cannily blends formula tropes with twentieth century German political terror, in the Nazi era with the East German Stasi -- and could put a damper about the fad of exploring urban sewer systems. Pic will accrue killer amounts overseas, and likely raise interest from the U.S. buyer by having an eye for sequels. The first passages rapidly intro the quartet of city spelunkers wanting to plunge into Berlin's huge subterranean system of tunnels and buildings far below the U-Bahn subways. Though not readily apparent, the group reps a U.N. of youth: Lucia (Nathalie Kelley) from Venezuela, her American b.f. Denis (Nick Eversman), plus woman pals Marie (Catherine p Lean) from France and Juna (Brenda Koo) from Korea. They are frisky, but going to obtain a sober dose of what's facing them from Berliner guide Kris (Max Riemelt). Kris' primary goal is to buy the foursome completely to some once-secret Nazi bunker and in one piece. The bunker was lately discovered after which sealed shut by government bodies, from concern it might be a gathering spot for neo-Nazi groups (a detail needlessly repeated in film writer Martin Thau's fairly arch British-language dialogue). An earlier encounter with several thugs with mean-searching dogs portends trouble. Because they make their way toward the bunker, Kris instills fear within the group by explaining the urban myth from the "Oden People," tall Nazis who made it subterranean each one of these many might have switched much more fiendish consequently. Fetscher masterfully evolves the eerie atmosphere, but thinking about their many obstacles (rats, tricky passageways), the people get towards the bunker rather quickly. For the Nazi talk, Fetscher and Thau setup another and third-act menace with increased contemporary implications for that town of Berlin, as well as for Germany. The steps on the way toward the quartet's encounter with Armin (Klaus Stiglmeier, who resembles an unholy melding of Lee Marvin on the very bad day with Klaus Kinski -- by having an incredible group of teeth), and also the subsequent payback plays out for near maximum impact. Fetscher eliminates the temptation to push the problem into a workout in torture porn -- a choice he easily might have gone for, while nonetheless ratcheting in the horror. Indeed, his one-guy-band mixture of direction, lensing and editing proves crucial, exhibiting an account balance of craft and persistence in building layers of suspense within terrible setting that goes past any urban explorer's worst nightmare. The cast of largely youthful unknowns as well as on-the-cuspers (like Eversman) tend to be more than game, needing to act in fairly disgusting non-studio inside. Noirish shadows within the pic's initial phases cave in to sickly vegetables and oranges later, while seem designer Nigel Holland adds considerable sizzle. Steven Schwalbe's and Robert Henke's score is standard stuff.Camera (color, DV), Fetscher music, Steven Schwalbe, Robert Henke production designer, Nobel Nobielski set decorator, Agata Uchman costume designer, Dorota Budna seem (Dolby Digital), Christian Schossig seem designer, Nigel Holland supervisory seem editor, Holland seem re-recording mixer, Christian Bischoff visual effects supervisor, Janosch Benz effects designer, Jens Doldissen effects makeup, Waldemar Pokromski stunt coordinator, Bruno Montani assistant director, Peter Fuchs casting, Monika Mikkelsen. Examined at Fantasia Film Festival, This summer 24, 2011. MPAA Rating: R. Running time: 94 MIN. Contact the range newsroom at news@variety.com