‘KIMI’ Film Review: Zoë Kravitz Uncovers a Secret in Steven Soderbergh’s Brisk, Familiar Thriller

thewrap.com:

borks. And if that sounds like a really terrible idea, if only because it’s more of an invasion of privacy than usual (which is already a lot), “KIMI” agrees with you.

The plot kicks off when Angela, who’s responsible for correcting that code, overhears what sounds like a violent crime. After some audio scrubbing and not-entirely-legal digital digging, she’s convinced that it’s up to her bosses at the Amygdala Corporation to do the right thing and give all this evidence to the authorities, and definitely not to engage in a deadly corporate cover-up that makes Angela the target.Yup, that last part sure would be bad.

Of course that’s exactly what happens. Making matters worse, Angela is agoraphobic and refuses to leave her apartment, a condition only exacerbated by the recent COVID lockdown, which severely limits her options and makes going to the home office to file a report about as relaxing as an orbital spacewalk in a leaky helmet.The screenplay by David Koepp (“You Should Have Left”) is a hearty melange of classic and not-so-classic thrillers, with a little bit of “Rear Window,” quite a bit of “Hackers,” and a whole lot of “Blow Up,” “Blow Out,” and “The Conversation.” Angela even has a toothache, just in case you were worried Koepp hadn’t seen “Marathon Man” recently.But all these clockwork pieces fit reasonably well together, except for the misaligned main cog.

The whole plot revolves around the fact that KIMI is easily hackable and not at all secure, and yet the main plot point is that someone knew all that and collected and stored all the evidence on KIMI anyway.