Tom (Milner) - a strange outsider with blindness for beautiful Lucy (Williams), he struggles to approach and approach the deeply worried girl. Until then, he is walking a malicious attack with the hands of a gang hidden in her suffering. He escapes from the scene, he is shot and died. In his recovery process, Tom is told that his cell phone fragment is embedded in the brain, which can lead to some "side effects". Because Tom can listen to, intercept, control, and command electronics in the city of London, digital enchantment in the heart holds technological possibilities. Realizing the possibility of this incredible gift, he becomes IBoy. Shadowed vigilante who engages in the way of ruthless revenge to hurt thugs who harmed girls whose mind belonged.
As a narration, IBoy is praised for ingenuity. At least with paper. The idea is totally absurd, but it is at least funny, original take of a tired, recycled superhero movie of our post-modern era. Tom's ability to filter waves of code, phone, email, and documents, hacking every device on each street, Randall's movies give a feeling like a video game like almost live WATCH_DOGS. The problem is that the movie refuses to accept Arc as a foolish thing and instead chooses to play awkwardly and awkwardly at the boundary of the parody. In the end, our iconic hero is basically a pedestrian who speaks the BT communication tower. Let's laugh a little for heaven. A street gang movie that we have seen hundreds of times ago, awkward, faced Poe, tired of the genre, zippy, removes any sensation of humanity and concern. The culture of food is far from being imaginable, as there are members who spew out the most artificial and unpleasant dialogue. In this department, at least the screenplay seems like interpretation of a 50-year-old teen language. This obviously dispels of the dramatic gravity that we are trying to establish.
Milner's core performance is very poor. Because he suffers greatly from frivolous dialogue and motivation of personality. The support of Miranda Richardson and Rory Quinaa, which plays a role of a rare villain, is clearly inserted and the project creates a mature backbone against the mad youth culture. Williams is easily a highlight of this movie and provides a texture that honestly emotional chords when needed. Her plot, however, is very flimsy and has failed due to filler dialogue during the core moment of action and tension.
Visually, IBoy is impressive. The most likely area of the most likely movies. Location photos around London's dirty grounds are beautifully contrasted with lively light and reflection windows in the financial district. Randall gives British Capital a very smooth and uncompromised palette by projecting his project in a manner similar to Evan Creevy's Welcome to the Punch (2013) and absorbing artificial lighting from black night. It also has advantages from smart audio choices. There are in particular processor barking, sounding of ringing tones, tone of dial-up tuning, and so on. The audience seems that digital ping is not a sign of Tom's heart, but rather a waving rhythm in a busy metropolis.
Randall's film on the surface is calm and confident - undulating with a modernized intention, but in reality it is very formalized, predictable, unsatisfactory imbalanced part. The style is on, but the material is lost in the skyscrapers and the sea of SMS messages.
IBoy is currently streaming available on Netflix platforms around the world.
