In Kyle Mooney's directorial debut, a group of teens endeavor to save the world from sentient machines.
, even if the actual sound plays only a few times throughout the comedian’s brash and lopsided film. The jagged melody of low-toned hums and static interludes not only captures the possibility of the late ’90s and early aughts; it also represents the anxiety provoked by the turn of the new millennium.
In the years leading up to the year 2000, rumors swirled about a bug that would wreak havoc on computer systems around the world. The extent of this potential damage was never entirely clear — millions of dollars could be lost, total mayhem might ensue — but the real panic it inspired revealed how reliant humans had become on technology to facilitate all aspects of their lives.
The action kicks off at the house party. When midnight strikes, people begin to die and their gruesome murders expose’s creaks. It becomes clear that this is the kind of movie that will rely on style and shock to mask the thinness of its central narrative. As bodies fall around them and blood stains the alabaster walls, Danny and Eli escape with an ad hoc group that includes Laura; aspiring white conscious rapper CJ or its central love story to make up for the holes left by these disappearances.
The novelty eventually wears off, especially when Eli’s computer haunts the crew one moment and is meant to be a potential ally in the next. The contrivance of certain parts of the narrative — Laura’s hacking techniques, the introduction ofas Fred Durst — derail the story, turning the latter half of the film into a hodge-podge of random encounters. The result is a film with undeniable flair that’s nevertheless too unfocused to appreciate.
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