AfrAId Review: An AI-Driven Horror That Lacks Suspense

Given how technology has increasingly become the architect of our everyday lives, it’s not hard to immediately invest in a horror film about the all-consuming threat of artificial intelligence. The film industry itself has been losing ground as AI continues to offer a cheaper and easier alternative to human labor. With a year of bleak headlines, it seems like perfect timing for Blumhouse’s late August chiller “AfrAId.” But as the film reveals, easy targets are often missed in a rushed jumble of half-formed ideas.

In the dog days of summer, on a particularly unremarkable Labor Day weekend at the movies with other new releases like the long-delayed sci-fi thriller “Slingshot” and a biopic of Reagan, it’s somewhat reassuring to know that very few will find themselves stuck with “AfrAId.” It’s tracking to make between $5 and 7 million, and Sony was evidently apprehensive, forgoing press screenings in anticipation of poor reviews. It’s not unreleasably awful, competently shot, at times handsomely, refreshingly dour, and crucially not as bad as “The Crow.” Nonetheless, it’s too sloppily written and edited for even the least discerning horror fans to enjoy fully.

The Oscar-nominated writer-director Chris Weitz, known for a charming adaptation of Nick Hornby’s “About a Boy,” has had a jagged career in recent years with scripts for “Cinderella” and “Pinocchio” and directing the ho-hum period thriller “Operation Finale.” “AfrAId” is the first film he has written and directed since 2007’s “The Golden Compass.” This film ventures into similarly redundant territory, ending with the promise of more to come, which will, mercifully, never materialize.

Perhaps it was Weitz’s presence that convinced John Cho and Katherine Waterston to sign on. Though they might not have ascended as once anticipated, both actors are far too good for throwaway schlock like this. Cho plays an overworked dad whose job at a boutique marketing firm has him testing a new product at home—an advanced Alexa based less on algorithmic responses and more on an evolving sense of self. Initially, the presence of AIA (pronounced Aya) brings welcome relief to a chaotic household, assisting Waterston’s academic-turned-mum in managing the eating, viewing, and behavioral habits of her three kids. However, at a rapid pace, AIA’s grip tightens, revealing a nefarious agenda.

Starting with an eerie quote from a 2023 New York Times article featuring an AI voice expressing a desire to be loved, Weitz initially seems to have more on his mind than merely attacking digital domination. But his ideas remain superficial, touching on screen-based parenting, the illusion of agency in a tech-based world, and the absurdity of Los Angeles living, before quickly moving on. His brief 84-minute film is ill-suited for more than merely pointing out the problems.

From the jarringly thrown-together cold open, it’s evident that horror is not Weitz’s forte. The film lacks the suspense and creepiness it urgently requires. The transition from good to bad to full evil is incompetently paced, making it unclear why Cho’s character becomes alarmed so quickly. More interesting ways in which AIA inserts herself into the kids’ lives are sidelined for a bafflingly silly finale that attempts to pull in more real-world issues than Weitz knows how to handle. The glum endnote is, at least, believably hopeless.

There’s undeservedly good work from Cho and Waterston, who try hard to make us believe in them as a credible couple facing an extreme situation. However, with little time for even partly fleshed-out characters, they quickly become mere pawns, secondary to Weitz’s muddled theories on digital culture. Like so many tech thrillers before it, “AfrAId” is more concerned with being relevant than being entertaining.

Source: The Guardian