Take a look at the Skies Movie Review & Film Summary (2025).

A kind of mash-up of “Interstellar” and “Stranger Things”, the extraterrestrial coming-of-age science fiction film “Watch the Skies” is a passable story about the loss. It concerns Denise (a committed Inez Dahl Torhaug), a girl whose UFologist Father was sought as an extraterrestrial in 1988. Until 1996 Denise is a rebellious, technically experienced teenager who is still looking for indications of her father's disappearance when his former red car falls from an orange sky into a local barn. The inexplicable event gives Denise hope and prompted her to achieve the former club of her father's UFO-Sweden-for help.

At this point, it is commonplace to see stories about sudden disappearance that are emotional emptiness far enough to be filled by stories about extraterrestrial kidnapping. You have created books, podcasts, reality television and films. And although “Watch the Skies” was staged under the direction of Victor Danell (considered a crazy picture), claims to be derived from a unique source – it is loosely based on an identical association, the nickname of which also inspired a documentary, which has inspired Danell -. This film is not interested in making these Yarnen a new shoot. This impulse, admittedly smooth film, unfortunately makes it feel more like an unmistakable adventure into the unknown.

However, it is not necessarily a dealbreaker to rely on a familiar form. It only requires characters that summarize the inherent pathos that can create such films. Unfortunately, “Watch the Skies” also fights on this front.

Denise is simply a deeply unlikely character, the maturation of selflessness to selflessness requires far too many disgusting turns to take care of your growth. This is a serious fumbling because it has some impressive properties: it can hack a keyboard with a game boy, a killer motorcycle drives and has an fearless mind. But her wish to find her father routinely brings others into enough predictable danger that it is difficult to root for them.

See, there are many lovable characters in “Watch the Skies” that are pushed to the side lines instead of your trip. Ufo-Sweden is, for example, an unmistakable crew of colorful characters: The Punkish Töna (Isabelle Kyed), a fragile Karl (Niklas Kvarnbo Jönsson) and a supporting Mats (Mathias Litffern). But it is just the bitter Gunnar (Håkan Ehn) – an almost incredibly hideous by veterans of the club – and Lennart (Jesper Barkelius), which moves towards the center. It is a hesitant Lennart, who ultimately becomes the largest ally of Denise and the couple forms a weak bond.

When Denise and Lennart serve as leads, you expect the film to be in a potential substitute-father subsidiary relationship. But it doesn't. Denise is far too determined to let someone in, which means that the relationship that the two characters shared never develop organically, even if they both fight with their demons. The biggest obstacle from Denise is Tomi (Sara Shirpey), a police officer and a quasi-arler sister who wants to protect Denise from the UFO group. On the other hand, Lennart, the anger of Kicki (Eva Melander), is trying to avoid the SMHI head that fired him and now search for weather-related data about extraterrestrials. None of the “bad guys” is particularly threatening (I would even go so far as to say the film excessively malignant Tomi) and to withdraw a feeling of tension from the adventure.

Everything in “Watch the Skies” is either overturning or underdeveloped, including the synchronization carried out by Syncflawless. I didn't know that AI was used for the speech until the end of the film. As I watched, I couldn't shake the scary valley feeling that the technology usually brings with it. Something about the orientation of the face and the voice threw me off in a way that even the caricaturist synchronize. On the other hand, the score of the film is not distinguished by others of the same ILK, such as “Stranger Things”, to the point where I almost thought that it had been lifted from other sources.

The only appealing component that observes the sky is the imitation of the aesthetics of the 90s. There is almost a polaroid patina in the colors in which the basic colors get off the screen, while the lighting remains impressive. Swift car hunt lead to moments of the Spielbergian wonder and inspire these characters to open each other. The charm that these cases cause causes them to wish them more of this picture that it was simply a bizarre adventure that enabled great outbreaks of intensive emotions. “Watch the sky,” fulfills this wish in his visually transported climax and gives it a sweet last note that almost washes away the bitter taste of what came before. So much that I wanted to believe in the last seconds.