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Constantly monitored, even when they leave the provincial town to venture between remote moors and metropolitan tunnelsthey face together with the digital horrors of stalking even… the analogue one: the only way to temporarily get rid of surveillance is to give up modern cell phones. The analogy between the spirits that haunt homes and the machine ghost owning smartphones, computers, cameras and “Electra” (Alexa) is not new since the days of 80s cyberpunk from Shockers to Caprica, but even when there is a hidden space for doubt that the app could be a sentient AI, it is the expression of a perverted humanity that scares the most. The virtual alternative would be more reassuring than the second, but above all the Clarksons are interested in offering an analysis of the human psyche, not an electronic one. If the mix of genres mentioned is relatively new, the sinister theme of the occult network of sadists intent on transforming the victims into the protagonists of a deviated video game boasts numerous cinematic precedents.
Also red roseswants to underline, as the chapter of Dark Knight of Nolan with the Joker incarnation of Heath Ledger, who the most inconceivable horror is that of cruelty perpetrated for no apparent reason, Evil for Evil’s sake in its purest and most amoral expression. Subsequent seasons (the ending suggests an anthology structure) are likely intended to delve into the backstories of those behind the app, but that gratuitous wickedness is what makes a psychological thriller like Red Rose a genuine horror. Of perplexity red roses leave only one: everything works, up to the last scenes left to the good Clarkson and Nagaitis where the final revelation corresponds to a narrative thud. We’ll wait to see if Gemini can fix it.
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