back in 2010, spanish director rodrigo cortes's claustrophobic thriller buried found ryan reynolds awaking rest of the movie. now that scenario is echoed in oxygen, the new film from french director alexandre aja. this time it's melanie laurent who's trapped in a box. a high—tech cocoon in which her air supply is gradually running out. woman yells. while reynolds was able to communicate with the outside world via a cell phone, laurent has milo, a computer with a carefully modulated voice that's meant to be calming but in fact has overtones of the politely murderous hal from 2001. she also has futuristic video screens through which she attempts to rediscover her own forgotten identity, triggering memories of the past, or are they simply hallucinations? engagingly written by christie leblanc, oxygen is an efficient potboiler that makes little sense but has a lot of fun putting its heroine through her enclosed genre paces. ideas are lifted magpie—like from a range of other movies, from ridley scott's iconic blade runner to german director patrick vollrath's cockpit bound thriller 7500. yet so