The film has a strong dramatic meaning. The director almost abandoned the richness of the spatial level brought by the conversion of multiple scenes that the film is good at. However, the limitations brought by the lens frame have another deep meaning. Most of the time, the lens is slightly higher than the audience’s eyes. In the middle of the square screen, there is a square phone booth where the hero never leaves. Sometimes the lens is slightly shifted to the New York City market where the characters are in, square tall buildings, divided by tall buildings. In the square sky, the impression given by all these images is a lingering feeling of suffocation and tension, like the invisible mental cage of the hero. Although there is no bloody picture, the anxious and uneasy emotions that follow the shadows seem to penetrate the screen through a simple lens and penetrate into the heart.
The film is purely in terms of space, but it's actually extremely limited, but it's just a few inches from the phone booth. But the foothold of the film is obviously to reflect the depth of the psychological space from the narrow physical space. What struggles with Stu is that he can’t know where the murderer’s true face is, so he is full of fear of unpredictable death; what really creates the suspenseful effect and draws the audience’s feelings is what the hero is forced to make in the process. Self-examination.
On the whole, it is generally believed that the script of the film itself can only be said to be second-rate or above, and the director and actors' control over the rhythm of the entire film is absolutely top-notch. From the point of view of the film's theme, "Sniper Phone Booth" can't be said to be thought-provoking, but most of the time when watching the film, there will be a high degree of tension. From this point of view, this film is comparable to other first-class suspense films.
