Film Review: “Kimi” (2022)

Been there, done that

The Alfred Hitchcock film, “Rear Window”, is not only a staple in the world of film but, also a catalyst for plenty of copycats. Out of all the “Rear Window” copycats that have come out, I am very familiar with two of them: 2007’s “Disturbia” and last year’s “Woman in the Window”. I loved “Disturbia”: It featured a strong central performance from a younger and in-demand Shia LeBeouf, solid direction from DJ Caruso, and a solid soundtrack to boot. While I didn’t review last year’s “Woman in the Window” nor did I even mention it on my worst list, I’ve heard pretty awful things about it. Either way, it’s safe to say that “Rear Window” has had a heavy influence on both of these films.

The latest Hitchcock clone, “Kimi” is directed by Steven Soderbergh, best known for last year’s “No Sudden Move” and 2011’s “Contagion”. Kimi also stars Zoë Kravitz as an agoraphobic tech worker who witnesses a murder via an audio tech log. The title, “Kimi” is actually named after the smart speaker which works similarly to a Google Home device or Amazon’s Alexa. Once she tries to uncover what is behind the incriminating soundbite, she unknowingly gets the attention of powerful and dangerous people. If this sounds familiar to you, then there's a chance that you've already seen this movie.