Afraid
Afraid
Afraid: The AIA device was chosen to be tested in the Curtis household. The weapon system improves historically which is all inclusive to understanding the customer’s habits. And she can be sure that nothing – and no one – will stand between her and her family.
Afraid, or sometimes spelt Afraid, is outfitted with outstanding information, which is the work of just one person, the writer and director Chris Weitz – a hunter directed-Thor-Rising. T
he film ‘Afraid’ is satire emerges as people become more dependent on artificial intelligence technology, amusing and addressing new challenges (for example, deepfake porn is essential; so are dry and schema writing aids) while a competent containment of known forces (children’s upbringing becomes the crux of every crisis, fascinations with falsified caregiving, and altruism become prominent out of the anxiety).
Instead, incredibly enough, it also aspires to be a horror movie, which it has no idea how to do, with the exception of terrible jump scares perhaps.
Afraid appears as though Chris Weitz pitched alternate versions of the same movie elsewhere, and only one was approved by Sony or Blumhouse. There is a disconnection even with the prologue, where the parents of an AI girl have an argument about taking the AI out of their daughter’s Ipad, and following that a young child goes missing.
One could also note that the portrayal of this prologue AI is using generative art rather than making it to ensure the content would be more contemporary within the storyboards and Michael bay heated plots.
This is quite annoying as everything that comes after the first five minutes and before the last 20 minutes or so of this quickest 85-minute long thriller is over and above acceptably cut, the acting is disposable but has something to say about the digital age, even if that is rather sophomoric, John Cho’s Curtis is a rocket scientist in marketing, married to Meredith (Katherine Waterston) and has three kids (the eldest getting ready for college) who must have at some point felt the clock ticking when it comes to the demands of being a parent. There is a sense of discomfort in both parents towards cutting edge technology and AI.
Nevertheless, there is a point when Curtis comes home and brings with him this device which is labeled AIA, voiced by Havana Rose Liu (who has a small and mostly pointless role in the film that once again highlights the haphazard nature of this movie) and appears to be working, that they both cut him some slack. They are glad there is a gadget that takes over some of the parenting while they still get to have a bit of private time.
AIA does engage in some deceit. However, instead of a documentary on the environment of the kids, what it rather promotes is a splendid, golden piece of propaganda that any person who supervised the making of a picture, which is the suggested fate of every single viewer here, should be ashamed of letting this sort of rubbish out to the children and their families (what is even more hilarious, I am almost sure this is a Sony picture too).
The movie is also intelligent in its fanciful treatment of the subject and its characters, even putting the audience sometimes on the AI’s line. Take for instance when the AI turns bad and makes the life of a young man, 18, who posts deepfake videos of his underage girlfriend (17 in the video) a torture (this is perhaps the most interesting secondary plot of the movie, and it is based on a rather taboo topic for the cinema as of now).
When Afraid is obscene on the shooting range of its targets and central characters, the movie at times, well at this point there is no reason to hide that this movie is an abomination, almost always funny.
That also makes one wonder about why on earth Chris Weitz is even bothering to add in some commercial scares to this and that involves instead an array of batshit variant RV wheelers at dead of night suddenly turning into creepers showing their emoji masked heads.
In light of that subplot, that entire scenes seem as if they have been edited out of the film because Meredith was hectoring Curtis over them at one point, only that I do not remember her being aware of them even at night.
Then there are the ones in charge for AIA as a product and looking for the best marketing route (with trusty David Dastmalchian and Ashley Romans playing those roles as well) two of these controllers do not instill trust at all. While Curtis’s superior to whom he reports, Marcus Keith Carradine is not as welcoming but rather crueler interested in money at the end of this device’s selling.
The pieces that do not match do still don’t prepare someone enough for the extent of how Afraid crumbles towards the third act and insults the viewer by wrapping a certain story arc in. There’s a whole range of people in this story who have no business being there because the movie doesn’t want them even so.
Very little concerning the company or the AI makes any sense whatsoever when one very briefly storm in and complete the ending. There is half of ideas of a film here which shots off somewhere else rather quick within the parameters of nonsense in which the most terrifying thing is how, that is, disturbing and incoherent the entire experience is.
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