If you were to guess which 2018 film contained references to student gun reform, Cambridge Analytica, Flint’s ongoing water problem and the Iranian nuclear deal, I’m going to take a big leap here and assume that you wouldn’t have predicted a sequel to 2014’s laptop-based cyber-horror Unfriended.
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The First Purge review – patchy, dour prequel is a nihilistic Trumpian horror
While there’s still the standard checklist of shouting, clicking, screaming, buffering and dying, it’s also a film that’s surprisingly plugged into the world around us and it’s uploading into cinemas just weeks after The First Purge, another horror sequel that felt strangely of the time with visual nods to an increase in far-right violence, including a queasy Charlottesville “homage”. Both come from Blumhouse, the staggeringly successful production company that struck gold with last year’s razor sharp thriller Get Out but has gained an industry foothold through aggressive franchising.
The first, and doubtfully last, sequel to sleeper hit Unfriended, which turned a $1m budget into a $64m gross, isn’t worthy of any real comparison to Jordan Peele’s socially minded game-changer but together with the recent Purge prequel, it suggests a certain brand awareness of audience. It strives for authenticity and acceptance from its young target demographic and while its hi-tech trappings might age fast (many of its real-world nods appear in the trending news box on the Facebook homepage which has since been scrapped), an abundance of effort is rarely a bad thing in the horror genre.
In Unfriended: Dark Web, we start on the home screen of software developer Matias’s new laptop, one that he found at a local cafe and took as his own. It’s game night with his friends and due to laziness, travel constraints and one of them living in another continent, it’s taking place via Skype. But it’s hard to concentrate on Cards Against Humanity when a previously logged in stranger’s Facebook page is blowing up with odd messages. Coupled with the discovery of a hidden folder of unsettling, voyeuristic video files, Matias starts to question just what the previous owner was up to …
The practice of watching a story play out via a laptop screen on a bigger screen is still relatively, mercifully unusual and there’s a make-or-break period of acclimatization that takes place during the first 10 minutes. It’s most definitely not a film to double (triple?) screen, one’s focus in constant demand by information popping up all over the place, and it’s an experience that will prove intensely frustrating for many but for me, far less so than its predecessor. Part of this is down to the shift in narrative from a tale of cyberbullying to a shadowy conspiracy. The characters who tapped and scrolled their way through Unfriended were so intensely vile that watching them fall prey to a vengeful cyber-ghost was a relief, the unending splurge of obnoxious revelations removing any investment we might have in their fate.
There’s a concerted attempt in the follow-up to create a more involving scenario with characters we might not want to see die quite so horrifically. The laptop-lifting protagonist is trying to perfect a piece of software that will make communication with his deaf girlfriend that much easier and, for the genre, their storyline is handled with surprising sensitivity. They’re friends with a lesbian couple, played by Rebecca Rittenhouse and Get Out’s Betty Gabriel, who face parental issues on the news of their engagement, and the very existence of gay characters in a genre movie is something of a rarity. It’s hardly a script with a great deal of depth but as first-time director Stephen Susco ups the ante, and the violence, we’re just that little bit more invested.
It also helps that the nefarious web they get caught up in unfolds like a tantalizing mystery thriller, each detail grimier than the last, building up to an effectively nasty underworld of online evil. The online framework is used for some inventive suspense (an unstable wifi connection, death scenes teased by YouTube montages) but while the performances remain convincing, the film often struggles to convince us on some of their decision-making with some of the clicking, downloading and digging feeling as dumb as a creepy basement investigation in a more traditionally presented horror film. It’s frustrating when stupidity sets in and some of the visual trickery that worked in the earlier stages starts to grate, with unintentional laughter emerging from some of the silliest on-screen IMs.
Even if some of the late-stage plotting seems sloppy and increasingly preposterous, there’s a callousness to the brutal last act that, together with the far patchier, yet similarly hard-edged First Purge, feels like a definite product of the time we’re in, as war on terror-era torture porn did in the mid-2000s. The iciness of the villains extends beyond digital spaces and into the real world, an inability to see people as anything more than avatars to troll, abuse and violate. While its scares might not linger, its bleak worldview will.
- Unfriended: Dark Web opens in the US on 20 July and in the UK on 10 August
Still, 'Unfriended' works because its creators capably lead viewers around by the nose. 'Unfriended: Dark Web' doesn't because its makers have a bunch of ideas, but fail to synthesize them in any meaningful way. The result is an unbelievable social critique built on the back of a Rube Goldberg-esque series of unbelievable, cruel plot twists that will make even the most credulous moviegoer roll their eyes in disbelief. Maybe future viewers will get a kick out of this film's campy depiction of a vast internet-enabled conspiracy that's foisted onto Matias (Colin Woodell), his deaf girlfriend Amaya (Stephanie Nogueras), and their pals after Matias acquires a mysterious used laptop. But today—when most viewers probably don't know or care what the 'dark web' is—'Unfriended: Dark Web' looks pretty desperate.
For starters: Matias's actions are so hatefully stupid that he made me appreciate the relatively advanced problem-solving skills of the sexually active protagonists from '80s slasher films. Unlike those kids, who were just horny in the wrong places, Matias seems to be allergic to logic. He impulsively opens more computer programs—which he has to decrypt, log in to, and repeatedly engage with—and interacts with more strangers than any thinking, feeling person ever could.
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Matias ignores several big, bold warning signs, like the portentous screen names of his stalkers (they all call themselves 'Charon,' which prompts a hilariously insipid Wikipedia search for information on the Greek underworld's ferryman). One anonymous interlocutor has an unsettling request: he wants Matias to 'trephine' a girl (another Wiki-explanation: 'trephining' is when you drill a hole into a human skull). Also, all of Matias' adversaries communicate using a shady private chat room called 'The River' that looks like torch-lit sewer canal from the similarly crude and gory 'Doom' computer games. What year is this, and how slow is the dial-up modem?
By now, you've probably figured out that Matias is the kind of dumb-dumb horror movie protagonist whose contrived behavior only makes sense as a means of pushing along his obnoxious story. Each new plot development is so slapdash and uninspired that it's impossible to suspend one's disbelief. I can't even tell if the baddies' use of a make-shift sound board and a well-timed van (yes, it's just a regular, gas-fueled van) are supposed to be funny, or are just unintentionally lame. I'm leaning towards the latter since it's impossible to take seriously a movie where a sassy but defenseless deaf girl is repeatedly imperiled by a faceless internet-enabled killer who uses a goofy-sounding hacking tool to send all-caps chat room threats to his victims (a distorted chiming noise can be heard every time the evil hacker contacts Matias; it sounds like the hacker's cell phone is ringing while he's accidentally flushing it down the toilet). Download game of thrones season 7 episode 1 720p full.
The illogical nature of these generic plot twists would be forgivable if watching 'Unfriended: Dark Web' wasn't such a punishing and unrewarding experience. Matias toggles between various windows and tabs, but is frequently interrupted by strange women, malicious computer dweebs, and pesky friends. His interactions are therefore mostly of the 'What do you want me to do now' or 'We can't do Y, or X will happen' variety. And every new conversation only further trips up Matias and his friends, none of whom exhibit enough technological know-how or emotional maturity to make them worth rooting for.
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And because 'Unfriended: Dark Web' stinks on a basic storytelling level, it's impossible to take seriously as a low-brow cultural critique. In this film, our primary source of human contact is a group of cartoonishly naive Millennials. Is their blinkered naïveté supposed to reflect social media users' deep-rooted alienation? Sure, let's go with that.
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Honestly, it's hard to appreciate being chastised for willingly giving away so much personal information online—and for being so short-sighted about the 'private' nature of our online interactions—when the film's protagonists are too dumb to fight back against big bad social media boogeymen who use Photoshop and word processing tools to entrap our heroes. The internet may be a nightmare, but it's a whole lot scarier than anything in 'Unfriended: Dark Web.'
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