There’s a good movie to be made about podcasts that traffic in unsolved mysteries where hosts rank cliffhangers and that hiccuping dramatic cadence over journalism. For half of its running time, th…
and screenwriter Lucy Campbell, falls sway to the clickbait tropes it intends to send up: red herrings, a tone of suffocating gloom and a desperation to keep the audience on the hook., playing an unnamed Interviewer and audio ne’er do well who has recently fallen into disgrace over a j’accuse gone wrong.
The mystery she selects involves a maid named Floramae who claims she once received, and lost, a bizarre black brick. She can’t explain how she got it and she can’t explain what it did. But the block — or rather, the stealing of the block by her employers — upended her life. It doesn’t sound like much of a story. Yet Campbell’s screenplay is designed so that we, and Sullivan’s character, deduce the shape of it together, one interview at a time. These early questioning scenes have a clarity of purpose. Vesely zooms the camera into Sullivan’s pores to scrutinize her as she scrutinizes callers who claim that they, too, possess one of these mesmerizing rocks.
If the film had continued in this direction, it would have been a decent exercise in isolation. Shot in those cool gray tones that mean to imply sophistication, the visuals suffocate us inside the house in a way that suits the story, even if we do begin to feel like the pet turtle seen imprisoned in a fetid tank.
In this airless round-the-clock work life , it seems inevitable that the Interviewer is susceptible to going stir-crazy. But the way she does are the half-baked nonsense of someone who snatched the microphone for a toast and forgot what they meant to say. The interesting questions raised earlier on evaporate; in their place are reveals that strain credulity and a climax could be slapped on a dozen other flicks.
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