Los Angeles, CA – The fear of falling is primal. You don’t need much of a story to make a person standing thousands of feet above the ground feel like a nightmare. Fall 2: Deadpoint knows this, which is why its best moments are also its simplest: a foot placed on an unstable plank, a rope that doesn’t look quite secure enough, a glance down that you immediately regret. The sequel to the 2022 survival thriller moves from the abandoned television tower of the original to Thailand’s Mount Kwan, following Jax Hunter (Harriet Slater), the estranged sister of Shiloh, and Luce (Arsema Thomas), Shiloh’s fearless friend, as they attempt the dangerous “Plank Walk” from Shiloh’s bucket list.
It is a premise that gives the sequel a useful emotional thread. Jax isn’t a natural daredevil—she is anxious, grieving, and carrying the guilt of her last encounter with her sister. Putting someone afraid of heights in this situation is a neat reversal of the first film’s dynamic, and Slater plays that fear convincingly. Thomas gives Luce the confidence and recklessness the story needs to keep pushing forward. Where Deadpoint really delivers is in the physical experience. The Spierig brothers know exactly what the audience has come for—the mountain is vast, the planks look impossibly fragile, and the camera repeatedly finds ways of making solid ground feel very far away.
The problem is that the film doesn’t always trust that. The original Fall had a brutally simple premise and squeezed almost everything it could out of it. Deadpoint tries to compensate for the familiarity of its setup by adding more plot, more backstory, and more twists. Some of these give the story momentum; others make the film feel as though it is trying to prove that it is more than a survival thriller.
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Characters occasionally make decisions because the plot needs them to, rather than because the decision feels like something a frightened person would actually make. Visually, however, Deadpoint remains effective. The heights are rendered with enough scale to induce genuine discomfort, and the sound design understands the power of creaking wood, shifting weight, and sudden silence. Slater is the film’s biggest asset, and Thomas matches her energy. But whenever the story remembers that looking down is scary, Deadpoint works. Whenever it tries to be cleverer than that, it loses its footing. The film is now running in Indian theatres.
