Steven Soderbergh is back and Zoë Kravitz has blue hair in Kimi
’s “little” movies — the lo-fi dramas, often quirky thrillers, that he makes as palate cleansers in between his higher profile projects — have been a pleasurably idiosyncratic, off-on-his-own-cloud thing. Some of them are good , some are meh , and one is great ; none of them make much of an impact in the marketplace. Yet you feel the pulse of filmmaking fervor in them.
Adding to the solitary vibe is that on this particular day, Angela hears a stream that gives her the chills, with threatening noises buried under a din of pulsating music. So she scrapes away the other sonic tracks, the better to hear the crime that may have taken place. The dude from Romania provides her with a dummy admin code to tap into the computer the noises came from.
Zoë Kravitz holds the screen with her cool austerity, her impassive façade hinting at heavy anxieties just beneath. When Angela uncovers video footage, through Kimi, of what those noises were, it’s disturbing in the extreme, the way that the homicides in “Michael Clayton” and “Crimes and Misdemeanors” were. We see murder in the movies almost every day, but it’s the rare film that’s grounded in the real world enough to remind us that murder is something ordinary people commit.
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