Latency (2024)

Latency-(2024)
Latency (2024)

It is no secret that filmmakers have taken quite a liking to the ideas of techno-horror. This genre can be found in films like Videodrome, M3GAN, or even the upcoming Afraid. At least it seems that writers and directors make their voices heard about the ominous risks of incorporating advanced AI throughout society. Or, as we’ve already seen this year, fiction and horror intertwine in real life in so many ways, making that genre almost an announcement the future is here. Joining the rage of techno-horror this year, James Croke’s Latency stands out among other films as an insightful commentary on universal gaming ideals and the often unhealthy competition gamers undergo. Watching the film, it becomes apparent that the style and tone provide depth and scope to the portrayal of a certain vision, and yet the end result is rather emotionless and lacking in warmth.

Hana (Sasha Luss) has such a severe case of agoraphobia that it restricts her life quite a lot. She finds solace, however, in the online community as a professional gamer. Even though she has faced a professional bump along the road, her head is still high, as she trains for an upcoming event that offers a dazzling prize of about a quarter of a million dollars. Jen (Alexis Ren), her friend, comes over regularly, brings her food, and throws out the rubbish when it gets too much. A true gem of a friend!

While preparing for the tournament, Hana gets a prototype of the latest gadget. Although it is not due for sale for a couple of months, she is not shy about the use of the mind-controlling device. The unit is placed at the back of her head and controls her thoughts, which allows her to increase her efficiency instantly and even control other electronic devices like her mobile phone.

Things start with Art. The apparatus defines some aspects of her motor skills, typing, and even her pain receptors in the course of carrying out a number of tests. Hana physically throws herself into the game from the onset and does not take a break till the half-minute mark, which enables the player to get closer to her target. It goes through the back of her skull until a point is reached where it cannot be taken out. The lines outlining reality and the speaker’s imaginations become distorted and Hana gets sucked into the black hole of her making. In fact even Jen is able to tell her about how the potential risks but she evades Jennifer’s prohibitions and presses on further over the melting point.

Croke’s picture touches on two genres horror and sci-fi, and from the very start, he engrosses the viewer in a morbid, fractured tunnel. This is the point where Yuuta reaches the edge and can no longer control her mind which starts to shred itself into warped versions of reality. Such a situation soon results in never looking back. Even though she ends up winning the game, it still leaves a bloodbath of cats and dogs lying around.

It is a powerful premise as it is, however, the picture fails to crank its engines any higher to keep you engaged in the storyline. It does, as in this case, activity in the center of the progression drags as you want some real bad scare out of the unveiled portions of Hana Mimura. People are in no particular rush, for long stretches of time, nothing of real interest occurs, resulting in a certain range of dullness settling into the deeper bones. Because it is the first time I can hear screams in Croke’s first film, which is also visually great, it doesn’t exactly spoil the enjoyment of other senses.

The author’s signature marks tend to lag the pace and become thickened along the flow of yearning emotions leading to the eye-catching center point of the piece. Luss more than convincingly pulls it off with great pain and several layers behind directing each voice to lie flat. However, the cut lacks real impact, to give it a bit of a kick to cross the finish line.

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