the sub-90 minute thriller offers a searing yet slyly humorous portrayal of the modern technological landscape—as well as the abuses (and negligence) of both state and corporation towards woman victims of sexual assault.
With a great lead performance by Kravitz, a plot that—like the KIMI device itself—is persistently upgrading and shifting, and a shockingly optimistic story despite the fear of the technological world, KIMI is a shining example that Soderbergh is one of the best directors working today.
With Kimi, director Steven Soderbergh and screenwriter David Koepp have dazzlingly updated Rear Window for the work-from-home age: their film puts a thrillingly contemporary spin on a vintage paranoia-drenched premise.
Kimi is executed with a brisk sketch-like lightness, propelled by a jittery score from Cliff Martinez and pulse-jumping blasts of music from Billy Eilish to The Beastie Boys.
However scary that world and however freaky Angela’s situation, Soderbergh never lets the movie get too heavy. Even as the vibe shifts and the atmosphere grows more ominous, he maintains a lightness of touch and a visual playfulness that keeps the movie securely in the realm of pop pleasure.
The film extend into impactful hyperbole the tensions inherent in the situation of being subjects of and subjects to incessant surveillance.
Once again Soderbergh has delivered a film that comes across as effortlessly constructed, which could only be achieved through immense consideration of every detail.
Ruthless and precise, Steven Soderbergh’s “KIMI” is a timely commentary on isolation and intrusion.
With a simple but effective script and some fun visual experiments, it's an entertaining conspiracy thriller set in (and very much about) the post-pandemic world.
Soderbergh’s direction is, per usual, tight and efficient (as is his editing – it runs a lean, mean 89 minutes).
Our hero is a tech whiz who has built herself a seamless workflow across two operating systems, but when the climax comes, she has to rely on the bad guys giving her time to speak three separate off-the-shelf commands to her voice assistant?
For close to thirty minutes, Kimi is a clever, in-the-now show... until it devolves into a cliche chase-movie with heaps of eye-rolling convenience and stupid bad guys.
(Mauro Lanari) For a Foucault in the technological-digital age, Soderbergh tried to dodge the remake of "Enemy of the State" (Sott Jr. 1998) by accepting the script of Koepp, former screenwriter of "Panic Room" (Fincher 2002): the lockdown as a pretext for an Orwellian paranoia in a claustrophobic version complete with a home invasion. The names of the company ("Amygdala") and of a song in the soundtrack ("Connection") are allusive, but please do not blaspheme by bringing up films of much higher caliber ("Rear Window", "The Conversation", "Blow Up").
An uneven film with lots of undeveloped pieces. Like about everything by Soderbergh. The soundtrack echoes an earlier time. The first third or more is in the apartment, at first thought it may be a single set kind of film.
Mixed on this one. I liked the whole covid inspired aspect of this and her being an introvert but didn't work for me in the long run. It did have some nice moments and had some great suspense moments.
Didn't quite catch me like I hoped it would. Kravitz is great and its a pretty self contained flick but it didn't quite catch me like I wanted it to
Science fiction works when it looks at real issues like surveillance and corporate coverups and puts them through a futuristic lens. Kimi does this very well. Side note after reading some of the user reviews here, it must be exhausting to watch anything just looking for women and minorities to be mad at.
Terrible movie. Feels like a bad, stretched out Black Mirror episode. Except Black Mirror is good...
Above average for a Covid movie, and I respect that the disease/bug/disaster is actually Covid-19 in-universe. Kravitz gets to flex her acting muscles.
O filme é legal, apresenta um drama interessante e uma narrativa intrigável.
Steven Soderbergh shot and cut the film, and the film is very good looking for sure. The movie's pacing is also reasonable, with no extra plot lines. What KIMI lacks is certainly not scenes or tension, but originality.
bad [ bad ] adjective, worse, worst;(Slang) bad·der, bad·dest for 36. not good in any manner or degree.
Kimi is a well constructed thriller that uses its smaller scale story to its advantage. While it can feel pretty quickly and sloppily thrown together at times, I was always invested in the story. Zoë Kravitz is great here as well.
Soderburgh is such a good craftsman that he can take a highly derivative story, add a couple of bells and whistles and a nice sense of humor, and give you a solid 90 minutes of entertainment. I was out of popcorn, unfortunately, don't make my mistake.
Good film that didn't overstay it's welcome especially when so many are 2+ hours long
7.5/10 Kimi is a well performed and well written (in terms of a dialogue) movie and though the whole story is not that original, nor that i say incredible and awesome too, Kimi it's a fun crime case movie that not only fills with great performances, the cinematography, the look of the film, the score, and the tension is all great, and if i can point out one more negative thing about Kimi is that the movie is only 89 minutes and that's including the credit so it's probably about 85 minute-ish movie but i did feel too long, overall Kimi is again still a fun yet intense and a quite an entertaining film that still worth to watch even with all the flaws.
"Kimi" (HBO Max) stars Zoe Kravitz as a social shut-in juxtaposed against her job as a machine learning assistant for improvement of the Alexa-like product "Kimi". She overhears an assault on a woman via someone's Kimi and decides to get involved, regardless of what others signal or tell her, regardless of her phobias, regardless of everything, she sacrifices her life and others for an assumption of what she hears for a 5-sec span on a stranger's Kimi. I went through all that to show why you don't really care about her, she's acting outside the bounds of a realistic character and where does that usually lead? Right, disappointment. Oh and she does the "Home Alone" bit on some assassins so that's plausible, right? And she's in a mixed race relationship so Hollywood gets their we're-so-progressive bonus. It's another of many, many Covid-era wastes of our time.
Kimi is an unsophisticated thriller that borrows heavily from classics in its genre rear window yet delivers little thats new (ahem covid restrictions and face masks?). There's a great cast here and some excellent sound design (the headphones cutting to silence was very effective). Overall production is top tier considering its quick production turn around. Spoilers ahead but what little that worked well here is sadly and quickly discarded for a cheap and overly unrealistic mary sue murder spree victory finish with literal smiling 'oh, suddenly it seems murdering home invaders with a nail gun was the therapy that cured my agoraphobia ' moment. Although entertaining - couldn't help but feel theres was a massively missed opportunity for something more subtle and meaningful.
Solid buildup and tension, I think the film mostly does its best when Soderbergh is experimenting with different camera tricks and framing. Zoe Kravitz did a great job in the role. The final act struggled a little as not much had been set up in terms of the protagonists abilities to pull it off. But a real short run time saved this movie from bloating out and going into too much detail on characters background.
KIMI was a thrilling and intense thriller that explored mental health struggles with a beautifully sensitive and realistic touch. Zoë Kravitz gave an exceptional and powerful performance. Also Alex Dobrenko and Devin Ratray gave good performances. The writing was outstanding. It was just a great movie and my favorite movie I've seen this year so far.
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