Kimi is a pandemic film, but COVID-19 isn’t used as a heavy-handed device or signifier Soderbergh, along with David Koepp and his sharp screenplay, is much smarter than that. When Angela stumbles upon a particularly disturbing stream of a possible murder that implicates Amygdala in a sinister coverup, the company tries to silence her - permanently. ![]() As one of these operators, Angela spends her day listening to anonymous streams and correcting interpretations of data for instance, helping Kimi broaden its understanding of “paper towels” to include its British-English equivalent “kitchen paper,” or flagging an algorithmically unfriendly Taylor Swift song title. ![]() Zoë Kravitz stars as Angela Childs, an employee of tech giant Amygdala whose Alexa and Siri competitor Kimi boasts the human touch: in addition to algorithms, the company uses its workers to guide its robotic personal assistant along its learning curve. Crossing a pastiche of paranoid thrillers - think Rear Window, Blow Out, or The Conversation - with a Google Alexa and an agoraphobic protagonist, Kimi might sound insufferably heavy-handed and conventional, but Soderbergh imbues his fleet genre exercise with energetic suspense and surprising substance. Kimi, Soderbergh’s latest, weaves its technology right into its narrative. Even his latest foray into television, 2018’s little-seen murder mystery Mosaic, was paired with an app experience that unfolded through different perspectives. Unsane and High Flying Bird - a psychological thriller and a sports drama, respectively - were both shot exclusively on iPhones No Sudden Move, last year’s period crime caper, leaned heavily into distortion with its fisheye lenses. A classical artist who has embraced the digital, Soderbergh has spent the years after his supposed final feature - Side Effects - injecting his personal verve into tried-and-true formulas. It seems that ever since Soderbergh’s 2013 “retirement,” the esteemed filmmaker has been more prolific than ever. ![]() Using technology not as a gimmick but as a window into our creeping surveillance state and the ubiquity of corporate malfeasance, Soderbergh’s Kimi crackles with paranoid energy and a determined performance from Zoë Kravitz. But leave it to Steven Soderbergh to craft a pandemic tech thriller that is not only immensely watchable, but a paragon of the 90-minute hair-raiser. There are two types of films that I recoil from the most: pandemic dramas, which reflect a cruel reality I would much rather escape from and tech thrillers, which feel immediately dated and are often too cute by half in attempts to capture the zeitgeist. With potency in the metaphors between the lines of its fleet predictability, Kimi bubbles with rage, teems with Soderbergh’s meticulous craft, and soars with a great Zoë Kravitz performance. Jindraike, who spends the school budget on a new sports stadium to flatter the inspector, Superintendant Bobby 'Crazy Legs' Knebworth, and even plants to tear down the animal shelter.With his latest film Kimi, Steven Soderbergh appropriates the inelegance of pandemic dramas and tech gimmicks to craft a crackling paranoid thriller. Max's targets include the arrogant new principal, Elliot T. Initially Max just hates giving up his high-school friends, a fatso and a music-maniac, but when their former friend Troy McGinty picks on them with his new image as bully realizes leaving means he can't be punished after Friday, and plans an orgy of revenge. ![]() She spent six years on just the right interior and now hears from dad Don Keeble, a wimp whose 'career' in commercial publicity still only got him wearing sly costumes, a promotion requires the family to move to Chicago. Max Keeble is a nice, quiet teenager, whose idea of 'superhero-requiring' danger is braving Evil Ice Cream Man who blames him for a health complaint from ma Lily.
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