I was a fast fan of the then “new” cinematic technique known as “Screenlife” or “Screen Reality” when, under the guidance of visionary (and always cutting-edge director and producer) Timur Bekmambetov, director Leo Gabriadze and screenwriter Nelson Greaves brought UNFRIENDED to life in 2014. Always ahead of the pack with utilizing the myriad of mediums we have at our fingertips today as storytelling tools, this smartphone/computer monitor/laptop/tablet/device world that Bekmambetov is allowing and encouraging filmmakers to explore is beyond exciting and wonderful. An innovative film language that tells an entire narrative film within the various frames, windows, and browsers of a computer screen, Screenlife is a new wave in storytelling. At present, there are approximately seven of these “Screenlife” films in some stage of development, shooting or post-production. The challenges of creating a synergy among so many visual screens all contained within one master in a cohesive real-time manner is just astounding and as all will see with UNFRIENDED: DARK WEB, the continuation of the UNFRIENDED franchise is in more than capable hands with this new entry from writer and first-time feature director Stephen Susco as he delivers a truly terrifying moviegoing experience.
Delving into the depths of the Dark Web, UNFRIENDED: DARK WEB is a natural fit for writer/director Susco who up until this point was best known as screenwriter for “The Grudge” franchise as well as screenwriter/producer for “The Possession.” The Dark Web is already a mystery to so many, so curiosity is already piqued the minute the film starts to roll. But Susco capitalizes on that mystery and creates a plausible and fascinating throughline that takes the mind, and our characters, into places that go beyond just the internet. Dark and frightening notes of the unknown permeate everything as we come face to face with the real darkness that lurks not only on the internet but in the hearts and minds of people, and it is beyond frightening. Subtextually tackling the issues of kidnapping, torture, psychosis, and just plain old sick demented individuals – with all of this “sickness” able to touch anyone, anywhere, at a moment’s notice without warning, gives much food for thought, while also sending messages about privacy and the lack thereof in this day and age.
The film starts innocently enough as boyfriend and girlfriend, Matias and Amaya, are having an argument online. Amaya is hearing impaired. Matias is not (although he does appear to be sensitivity impaired when it comes to Amaya). It’s online game night for the two of them and their group of friends – Damon, AJ, Nari, Serena, and others. A longstanding tradition among this close bunch, as each appears onscreen via their respective devices, we quickly learn about each and the group dynamic thanks to casual and comfortable dialogue punctuated with Chris Davis’ individualized production design and cinematographer Kevin Stewart’s lighting for each character’s home setting. While the film is focused on the group and their game night, thanks to Matias’ internet dabbling, he stumbles into perhaps the darkest depth of the Dark Web with what appears to be another kind of game being played. This Dark Web game serves as the catalyst propelling the story wherein someone or something named “Charon” is now moving from the Dark Web into real life, coming after each of our protagonists who are bound together online in their various homes and, in the case of one, a different part of the world. And no one is allowed to logoff. But as we see, the tentacles of the Dark Web know no bounds.
Characters are engaging with affecting performances from Colin Woodell, Betty Gabriel, Rebecca Rittenhouse, Andrew Lees, Connor del Rio, and most notably, Stephanie Nogueras.
Hearing-impaired herself, Nogueras proves to be the heart and purity of the film, and delivers a memorable performance as the hearing impaired Amaya whose boyfriend drives her to frustration over his refusal to learn sign language. Matias opts instead, to create an app which he believes will solve his communication issues with Amaya, and show his love for her. Unfortunately, it’s because of the crashing app that he finds himself stumbling into the Dark Web. Thankfully, because of her deafness, Amaya is blissfully kept in the dark as to what is unfolding online among all of her friends and Charon. Nogueras is a breath of fresh air amidst the surrounding darkness.
Colin Woodell delivers a solid performance, perfectly capturing the frazzled, frenetic, sometimes “stupid”, and often whiney Matias, making him someone you just want to slap upside the head for poor relationship skills with his lack of the human touch, not to mention not stepping back from the Dark Web when begged to do so by his friends. And while on the surface one may initially get the sense Matias is not the ideal friend, thanks to Woodell’s nuance, he brings out a caring and concerned side that serves the character well.
Andrew Lees soars as Damon, keeping us grounded and not letting the imagination run too wild while forcing us to see and acknowledge the horrors of reality which are worse than anything our imaginations can dream up. As AJ, Connor del Rio is a perfect cyber bestie to Woodell’s Matias, bringing a panicked but “everything is a joke” persona to the mix. After a notable performance in Leigh Whannell’s “Upgrade”, Betty Gabriel once again solidly delivers here where, as Nari, she is the level-headed, practical one of the group. Gabriel made a real impression in “Upgrade” and does so in UNFRIENDED: DARK WEB. Rebecca Rittenhouse’s Serena is the perfect complement to Gabriel’s Nari. Structurally, these two actors are the only ones who share screentime within the same screen and do a wonderful balancing act of moving in and out of their laptop camera to give each woman ample direct Screen Reality with the other actors and the audience.
The visual structure and format is riveting thanks to not only the overall visual tonal bandwidth, but the visual effects with image disruption. Kevin Stewart’s cinematography, designed with distinct individual lighting palettes for each of our “game night” players, and entirely different looks for various Dark Web events being viewed, efficiently and effectively tells the story of each of our characters. Particularly standout is the lighting design, and production for Andrew Lees’ character of Damon.
Propelled by Bekmambetov and fellow producer Jason Blum, it is in Susco’s direction and the work of his editor Andrew Wesman, who is even sharper here than with what he did with UNFRIENDED, that make the Dark Web sizzle. Most effective in this film, as in its predecessor film, is that we concurrently see full frontal facial expressiveness and emotion from all of our players. Each actor is looking directly into their respective screen, making direct eye contact with the audience as opposed to traditional shooting styles with profiles, backs of people talking, etc. Pardon the pun, but this stylization is so “in your face” that it not only drives the intensity and personal experience and integration of the experience but makes this more immersive for the moviegoer. Exceedingly well done.
Kudos also to Wesman for the visual effects and animation which add layers of the ominous and terrifying. For my money, it’s Wesman’s work that makes or breaks UNFRIENDED: DARK WEB and he definitely makes it.
At the end of the day though, when the screens have gone dark and we have gone darker than anyone thought possible, there’s no question that we all want to play in this game. Everyone should “friend” UNFRIENDED: DARK WEB. . . . . .
Written and Directed by Stephen Susco
Cast: Colin Woodell, Stephanie Nogueras, Betty Gabriel, Rebecca Rittenhouse, Andrew Lees and Connor del Rio.
by debbie elias, 07/05/2018
