Reviewed by Colin Jacobson (July 26, 2022)
Anthony Hopkins viewed the shoot for 1999’s Titus as so stressful that he decided to quit acting. This “retirement” lasted approximately 13 seconds, so 23 years later, we find Hopkins as the lead in 2022’s Zero Contact.
Eccentric genius Finley Hart (Hopkins) created an influential global data-mining program. After he dies, controversies related to its secret use manifest.
However, it appears Hart had other plans, as he sends posthumous video agents to a few folks around the world. These relate enormous possible ramifications connected to the AI that those involved need to deal with or suffer the consequences.
Zero Contact comes with a double meaning here, as the title not only reflects the movie’s plot. It also comments on the production itself, during which almost none of the cast or crew actually interacted.
Essentially the actors shot themselves from various locations around the world. Contact plays out entirely via these smartphone or computer cameras.
Much of Contact actually revolves around a conference call among the five main participants. These leaves us with Zoom Meeting: The Movie the majority of the flick’s running time.
Because his character dies at the film’s start, Hopkins only appears in “pre-recorded” moments that he sends to the surviving characters. Left without the ability to actually interact with anyone, Hopkins overacts relentlessly as a cartoon notion of a nutty tech guru.
At least Hopkins shows an actual personality, which I can’t really claim for the rest of the cast. Most seem flat and forgettable as they spout nonsense in front of their computers or phones.
Though Contact views itself as a 21st century Hitchcockian thriller, instead it just becomes one long exercise in mumbo-jumbo. The characters mix endless time spent literally doing nothing with occasional “revelations” or boo moments to sporadically punctuate the boredom.
These can’t alleviate the basic aimlessness and tedium on display here. Contact runs a mere 96 minutes but it feels much longer because so little actually happens.
It doesn’t help that the film pours on forms of invented technobabble that intend to convey seriousness and threat. They don’t manage to succeed, so we find ourselves left with an oddly inert tale.
Really, a movie about a possible extinction event really should manage some form of tension and urgency. Instead, it becomes a sluggish, inane “thriller” without a shred of drama to be found.
Footnote: some behind the scenes footage appears during the end credits.