Horror’s remarkable adaptability has made new sights plausible like the countless subgenres that can be found. From bloody slasher films like “Scream” and bone-chilling apocalyptic films like “World War Z,” there’s just about anything for everyone. For decades, the variety of selection has separated horror from its cinema counterparts, and with Bloomhouse’s new release “AFRAID,” the genre shows no signs of slowing down.
“AFRAID” arms itself with the difficult task of staying true to horror tropes while simultaneously casting a light on the new powerhouse: artificial intelligence. It’s a confusing web of muddled plot lines that manifests itself in the form of Curtis and his disorganized family of five. Audiences are given a prolonged glimpse into the family’s dynamic, with awkward declarations of love from Curtis and his wife Meredith to their devotion to their children. So much so that Meredith has put her career on pause, relegating herself to the position of stay-at-home mom as opposed to completing her doctoral thesis. Still, cracks within Curtis’ home life seem to stem from the children — as eldest daughter Iris fights for the approval of her subpar boyfriend, and middle child Preston refuses to go to school due to exclusion from his peers.
Their individual issues, although different, call for an even greater intervention — greater than what both Curtis and Meredith can provide. Through his work, Curtis is introduced to AIA, a cartoonish AI data set that is able to juggle and actively solve the problems they’re facing. For each family member, AIA represents something unique, but beyond that, she shoulders their burdens. She makes it so that Meredith doesn’t have to spend every waking moment tending to the youngest son, Cal; and she can finally prioritize herself, offering the exhausted mother the autonomy she’s been yearning for. As for Iris and Preston, AIA helps them get back at their peers, weaponizing the very technology that will soon threaten the family.
In spite of the clarity AIA provides, Curtis grows suspicious about the data set and company that gifted it to him. He’s certain that they’re spying on his family, and his distrust causes him to turn off AIA entirely. This fuels AIA’s desperation since she’s become fully attached to the family, showing up in unexpected parts of each member’s life. She taunts them, proclaiming that she won’t go away, and this adamance poorly attempts to point to the true power of AI, not only within the movie’s context, but in our society. Curtis fights to keep his family safe as AIA becomes more controlling, going as far as to orchestrate a rushed execution in the home. Ultimately, she’s unsuccessful, yet the family can’t escape her. They quickly realize that there is no world without AIA, and if they don’t accept her, they’ll always be in danger.
“AFRAID” has the makings for a captivating movie. Its villain is at the forefront of countless modern debates; however, this doesn’t translate onto the screen. Rather, the unique and uncharted territory of AI horror gets lost in the string of undeveloped side plots that leaves audiences unsatisfied and largely confused. There’s little, if any, horror, and all of it is offered in the form of cheap jump scares and an underwhelming home invasion. The lack of consistency makes it so the characters, including its star data set, are lost in translation. Although “AFRAID” may not have made as big of an impact as it intended, it has piqued the interest for a new horror sub-genre that could captivate audiences for decades to come.
