| HBO Max | Release Date (Streaming): February 10, 2022 | CRITIC SCORE DISTRIBUTION | ||
|
Positive:
26
Mixed:
1
Negative:
0
|
Watch Now
| Stream On |
|
| Stream On |
|
| Stream On |
|
| Stream On |
|
Critic Reviews
Feb 10, 2022
However scary that world and however freaky Angela’s situation, Soderbergh never lets the movie get too heavy. Even as the vibe shifts and the atmosphere grows more ominous, he maintains a lightness of touch and a visual playfulness that keeps the movie securely in the realm of pop pleasure.
Read full review
ColliderApr 12, 2022
With a great lead performance by Kravitz, a plot that—like the KIMI device itself—is persistently upgrading and shifting, and a shockingly optimistic story despite the fear of the technological world, KIMI is a shining example that Soderbergh is one of the best directors working today.
Read full review
Feb 10, 2022
Soderbergh, shooting and editing under his usual pseudonyms (Peter Andrews and Mary Ann Bernard, respectively), has a gift for satirizing corporate mundanity, and for making everyday minutiae mesmerizing. He can turn typing fingers and blinking cursors into the stuff of quietly engrossing drama.
Read full review
Feb 9, 2022
Feb 10, 2022
Kimi is filled with the kind of sparkling cameos and supporting work we’ve come to expect from a Soderbergh cast — but always and throughout, this is Zoë Kravitz’s vehicle, and she delivers a smart, empathetic and badass performance in this nifty gem about a woman who has to step outside in more ways than one.
Read full review
IndieWireFeb 9, 2022
The sheer banality of Angela’s cat-and-mouse game against the corporate assassins on her trail is chilling enough to compensate for the movie’s limited scope, and Soderbergh creates such a vivid sense of plein air claustrophobia — of being caught in a net as wide as a wifi signal — that he can stage an intense action set piece in a public/private space as small as the back seat of a van.
Read full review
SlashfilmFeb 9, 2022
Feb 16, 2022
Koepp’s fairly straightforward screenplay doesn’t take us in many surprising directions, so the film’s pleasures lie in Kravitz’s jittery performance (she’s working in a similar vein to Claire Foy in Soderbergh’s other recent psychological thriller, Unsane) and the experimental filmmaking that’s usually going on in the corners of a Soderbergh production.
Read full review
Feb 9, 2022
Soderbergh, once again acting as his own cinematographer and editor, pulls out nearly every cinematic trick he has to elevate Koepp’s material, but the film too often tip-toes when it should run: Every narrative and character beat feels muted, as if the tech-thriller is being apologetic for its own place within the genre.
Read full review
Feb 9, 2022
The most glaring problem here, and the one hardest to explain, is Soderbergh’s failure to elicit any warmth or charm from Zoë Kravitz, who has been consistently appealing in her every other screen performance, from blockbusters like the “Divergent” series to little independents like “The Road Within.”
Read full review
Current Movie Releases
By MetascoreBy User Score
