The plot: Young programmer Jessie (Ashley Rickards) is
chosen to be part of a team workshop at TITAN, a tech company run by her
estranged father Springer (Jonny Rees). However, after her colleague Mateo (Will
Carlson) takes credit for her work, she designs what she describes as an “anti-social
network” called KillList, an app that allows users to tag friends and enemies. As tensions rise in the
TITAN offices, people listed as "enemies" start turning up dead.
It’s up to Jessie to find what is going on before someone decides to make her
their new enemy.
Rickards is in a constant mode of discomfort throughout the
entire film, almost as if she is literally uncomfortable in her character’s
skin. To be fair, I wouldn’t be too good with the dialogue she’s given here,
but she could have at least made it look a bit less awkward to say. Lancaster
is bland as hell, same with romantic interest Ian (Skyler Maxon) and token mean
girl Stacey (Niki Koss), and his position in the plot is both unnecessary and a
complete ass-pull. An incredibly obvious ass-pull, granted, but an ass-pull
nonetheless.
Rees is ostensibly the villain and he plays it as such, using
technological dehumanization as basically his only character trait, but that
all ends up being useless since this is one of those films that thinks it’s being
clever by presenting an obvious bad guy but then going “FOOLED YOU!”. Manny
Perez just takes up space as the resident police detective, and Mario Revolori
shows that he isn’t nearly at the same level as his brother Tony.
Presentation-wise, this is one of the most obnoxious films
I’ve yet to cover on this blog and the irritation begins the second that the
film does. I have no real problem with the use of stock footage in film on
principle, but when it’s both this over-used and ultimately pointless to what
it is being intercut with, it’s impossible not to take issue with. Add to that
the extremely plain cinematography combined with egregious post-production
effects to resemble data fragmentation and computer static (we’ll pretend that
that last one is even a thing in the first place) and the desperately-trying-to-be-exciting dubstep soundtrack, and
you have a recipe for annoyance. It takes the idea of design aesthetic and
pushes it so far that it makes just the simple act of looking at this film into
a test of will and patience.
That, and trying to pay attention to what’s happening behind
all the garish over-stylization. I’m immediately feeling bad that I gave The Circle such a hard time when I reviewed it because at least it had ideas and
concepts and reasons why it was a story involving technology. By contrast, this
film seems far more interesting in basic slasher movie conventions than making
any grand statements about the use of technology. You’ve got the disposable
characters/cannon fodder, you’ve got the attempts at moral ambiguity that just
make the leads look like the bigger monsters, and you’ve got the near-constant
run-around concerning who is ultimately behind it all that ends up discarding
whatever decent ideas it had in favour of just more of the same.
Everything
taking place in the offices of a tech company ends up feeling inconsequential,
taking a backseat to having stilted actors deliver stilted dialogue that is
desperately trying to seem hip with what the cool kids are into but in a way
that is both formless and pushing for buzzwords. So many technical terms just
get regurgitated throughout, none of which are given real context or even
legibility through the delivery, resulting in a film that is all conversation
and no action.
Well, no action as far as what actually constitutes as such.
Aside from reviving old-school slasher stereotypes, it also seems bent to bring
back Hollywood Hacker stereotypes as well because there’s a lot of scenes where
the simple act of typing on a keyboard is meant to be thrilling or intriguing.
This, in a way, ends up highlighting what this film’s defining issue is: It has
a concept involving technology and computer programs but doesn’t really know
what to do with it beyond the surface.
Likely piggybacking off of recent
cinematic trends involving fear concerning the widespread use of technology,
this film just ends up using those trends as a backdrop for far less
interesting ideas. An aborted subplot in the film involves the TITAN AI Andie,
her access to the technology within the TITAN offices and whether or not she is
doing things because she was hacked… or if they are just her own actions. I’m
probably making this out to be like the second coming of Skynet, and it
honestly does start out with that tone. But no, rather than asking any
questions at all about the use of technology, it just sticks to the usual call
of “humans are the evil behind technology, not the technology itself”. Given
the increased use of personal assistants and automated living, this just ends
up being a weak substitute for what may
have been a better film. I say “may” because, judging by the production values,
I doubt they would have done much with it to begin with.
All in all, this is cinematic shovelware. The acting is
painfully awkward, to the point where it looks like some of the actors actually
are in pain, the visual style makes just looking at the production a chore and
not one worth the effort, and the writing is so plain as to be quite
unpleasant, forgoing even a token attempt at technological commentary for the
sake of reheated slasher shenanigans. This isn’t just bad and something that I
genuinely think I wasted my time with, but it also makes me retroactively feel
bad for other films that I’ve criticised in the past like The Circle, Nerve and
even Diary Of A Wimpy Kid: The Long Haul when it got to discussing Internet
culture. To bother trying to discern textual themes here would be give the film
enough credit that it even bothered to include them in the first place, and
going by everything else here, I highly doubt that.
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