Kimi

Leave it to Soderbergh to take a potentially stock thriller and find everything that's interesting in it while crafting something singular and extremely entertaining. Soderbergh finds cool, unexpected avenues in every element of the production and that extends to the score as well. You may think you know what to expect from another Cliff Martinez thriller score, but this one's totally different; it sounds kinda like Bernard Herrmann via water colors.

hello your soderbergh junkie's here just to praise him. story-wise this has a surprisingly loud run-of-the-mill below-average netflix film vibe. but it turns into something utterly enjoyable to watch in the hands of soderbergh. the camera work is brilliant as always, he controls the tension like a master and gets really good performances out of everyone involved. i praise soderbergh as a principle. invite me to your party and I'll praise him for the entire night. ok maybe this sounds weird.

Wasn't Soderberg supposed to retire, like, eight films ago? Instead, he just keeps pumping out new movies every year. Is being constantly monitored while being on the information superhighway a bad thing? Well, it's not good that your information is so readily available. On the other hand, sometimes we get to see a meme that makes us chuckle.

Steven Soderberg excels at the Hitchcock Women in Peril knockoffs popular in 50's & 60's. But here the hero's PTSD & agoraphobia elevates things. My only complaint is a late Panic Room mood--partly due to both films sharing a writer. Still, Kravitz is great at playing a wounded woman who makes a stand for herself. Yet I fear the dated COVID, Amazon, and Siri references make it seem more like a Black Mirror episode and less like a movie. But that's a minor issue: this is 90 minutes of fun.

A movie that wastes its own ideas long before it realises that it just doesn't have a third act. Everyone can track you... until they can't. The villain is powerful... until he's not. The assassins are dangerous... until they're not. Trauma is hard to overcome... until it's not. Everyone involved can do better than this... but they don't.

Both gripping and resonant, Kimi makes no effort to make any grand statements about how we live now, but it ends up shedding light on the present anyway, depicting an interlinked world in which it’s all but impossible to disappear — and where those with power can always find those who try.

very sleek, well put-together and shallow. There's something almost too cute how it wraps up the tech surveillance plot that it almost feels like satire but I can't see it that way other than actual sincerity; the final spoken line in the movie left me incredulous. Maybe I'll reevaluate this later on a second watch as actually deeply satirical but I doubt it.

As an Enemy of the State huge fan -- and a sucker for corporate thrillers involving crime secrets and everyday paranoid heroes immersed in home office during the pandemic --, I was totally into this from start to finish, mostly thanks to Kravitz's enourmous physical performance. It only takes Koepp's bare bones (gotta love the Panic Room vibe), hey-let's-have-fun approach to narrative to elevate Soderbergh's long and recent run of little suspenses about contemporary tech, existential fears.

I like both Kravitz and the familiar setup, but Soderbergh's latest didn't stick the landing for me. And some of the execution in the action scenes (they're sped up, right?) were quite iffy.

This homage to BLOW OUT certainly does blow!

Interesting premise, but so low budget, runs out of ideas quickly and lost my interest to the point I didn't care at all once it reached the climax.

Soderbergh's new film blends in with a bit of Rear Window, a bit of agoraphobia and a bit of cyber thriller, and it gets really enjoyable, especially towards the finale. The energy that Zoë Kravitz adds to her character is so good.

Did I watch an overly dramatic film with the same basic crime plot as hundreds of others, or a cinematic advertisement for cool tech products? Yes.

Incompetent plot, rubbish storytelling

Another Soderbergh movie that left me a little cold. Kravitz is the best part here because she adds some depth to the character, even if I don't think it's an AMAZING performance. The story itself is... uh, well it's there. Until the final act or so it's not really much of anything. I did enjoy it, ultimately, but given the reception of this I expected more. I expected a film with ideas, or at least a suspense/thriller that was either thrilling or suspenseful. There are a few good moments tho.

Feels more like a tv show episode than a movie. Chekhov’s (nail) gun

Second flick in a row that’s a socially conscious thriller revolving around a lady! This is pretty slight but generally a winner, with a tight script, great paranoid performance from Kravitz, and that beautiful Soderbergh cinematography.

Kimi starts off on an almost sci-fi note, before morphing into a crime thriller for its second act, and finishing as an action comedy. Soderbergh's direction is fine, helped by the short runtime, and Kravitz's delivers a solid performance. However Kimi struggled to sustain my interest with both characters and plot feeling contrived and inconsequential. The reminder of Covid-times doesn't help either. Takeaway: Just (re)watch Enemy of the State instead.

A modern masterpiece. Surprised to see the movie so poorly reviewed. Love Soderbergh's range.

Cinema's first kombucha jump scare. It was about time

Soderbergh has lots of misses in his career. But this one is more amateur level filmmaking. It might keep your interest for the first 15 minutes until you understand it has no game plan.

I would recommend this film based on a great performance by Zoe Kravitz. Kravitz shines in the lead role in this movie. The supporting cast is not given a lot to do here. The script has some good moments and some things that I have seen before. Overall this movie works and is enjoyable.

A well-paced and tightly structured low-budget tech thriller, not bad at all!

Entertainment:4 . Spirit: 0.5. Sustainability: 1. Family: 1

The type of unfashionable movie that wouldn't exist anymore without streaming services: a taut, stylish, character-driven thriller that isn't afraid to ask unnerving questions about our tech-saturated lives. I love that efficiency is a virtue for old hands like Soderbergh and Koepp.

This is a tense thriller, and a nice, short, fun watch. Another interesting story about an ordinary person thrust into extraordinary danger after hearing something she shouldn't have.

so lame, it'll blow your head off.

“KIMI” is a thought-provoking and timely thriller that will make you question the power of the tech industry and our relationship with technology. While it may be slow at times and predictable, the film's grounded approach and compelling performance by Zoë Kravitz make it an enjoyable and tense ride.

ingeniously encapsulate the feeling of agoraphobia, especially in post covid era. I believe many could relate to an extent as of stepping out for first time after some prolonged time in quarantine.

A rather enjoyable thriller thanks to Zoë Kravitz. She carries the film squarely on her shoulders and while the plot may not be 100 percent original it still is very engaging thanks to great writing and fine performances.

A well constructed claustrophobic thriller. A small film that punches above its weight. Really enjoyed it. Well timed right at 90mins also. Kravitz shines and although you need to suspend your disbelief in parts it doesn't take away from the entertainment at hand. Strong 7.0

Some of the parts are great, but the whole kinda sucks. And talking about holes there's a lot of them in the plot.

Very predictable and juvenile throughout.

SPOILERS : How does she afford that apartment? She spends a few minutes here and there correcting the "Kimi" algorithm (when it suits her) in a low level tech job. She can also afford to hang up on her therapist ($300/hr?) It was pretty easy to see that Tom Hanks's wife was going to be evil. That nail gun needs an air compressor. Her trauma is cured by watching her savior stabbed, and her killing several people, and getting kidnapped, and getting poisoned? Dumb.

you keep expecting this movie to latch onto one of the many things it could be about, like feminism, autism, corporate greed, technology, race, something. and incredibly, while these are all facets of the story, it is resolute in its purpose to just be a competent thriller and not say much of anything profound about anything.

Soderbergh is so versatile, and so good at making small, tension filled movies. I couldn't take my eyes off the screen. Kimi isn't great, but it's effective at absorbing the audience into its world and painting a picture of the dark corporate fuckery we live in. The plot is exaggerated of course, and will end up being outdated due to the pandemic touches, but it feels like shit such as this goes on all the time.

Much better, thanks to Soderbergh, than an average mediocre action/thriller, but a bit worse than an average Soderbergh's mediocre action/thriller.