Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’
'Kimi' is a Pandemic-Era Thriller That's Eerily Keyed Into Our Current Moment
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"title": "Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’",
"headTitle": "Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’ | KQED",
"content": "\u003cp>Goodbyes don’t tend to mean much in the Hollywood franchise system. Death isn’t a reliable end for characters or, lately, even actors. Technology, nostalgia and the often-inflated value of brands and IP have created a nightmarish cycle of resurrection and regurgitation, curdling what we love most.\u003c/p>\n\u003cp>And yet when someone like Harrison Ford says he’s hanging up Indiana Jones’ fedora, for better or worse, you believe him. \u003cem>Indiana Jones\u003c/em> producer Frank Marshall has also said that they won’t recast the character, which seems more dubious and, though well-intentioned, something he won’t be able to guarantee. All it takes is a new executive demanding a reboot.\u003c/p>\n\u003cp>[aside postid='arts_13930807']Not that it would ever really work, though. Any self-respecting movie fan knows the truth: The magic of Indiana Jones belongs wholly to Harrison Ford. Apparently, he doesn’t even necessarily need Steven Spielberg behind the camera, though, to be fair, the foundation was well-laid for a veteran like James Mangold to step in. But there is no Indy — none that we care about anyway —without Ford.\u003c/p>\n\u003cp>In this way, it’s hard not to go into \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, in theaters Friday, without a sense of melancholy — not exactly the ideal state of mind for what should be, and mostly is, a fun summer blockbuster. But it certainly adds a poignancy to the whole endeavor whether the film merits it or not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eQfMbSe7F2g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If only it didn’t start with that pesky de-aging technology (the best it’s ever looked but it remains unsettling), giving us a 45-year-old Indiana Jones doing some of the wildest stunts we’ve ever seen our beloved archeology professor attempt — atop a speeding train to boot. This sequence is ostensibly there to introduce the film’s MacGuffin, Archimedes Antikythera, a real celestial calculation machine with extraordinary predictive capabilities that in the film is bestowed with some otherworldly powers.\u003c/p>\n\u003cp>But we know the real reason: It’s there to let us gaze at that familiar face and to go on one last adventure with the Indy we grew up with, before being thrust back reality with a nearly 80-year-old Ford (he’s 81 in July) playing a 70-something Indy.\u003c/p>\n\u003cp>[aside postid='arts_13930502']This isn’t inherently sad, but Dr. Jones is certainly reintroduced in the most unglamorous way possible: Sleeping on a reclining chair in a sad New York apartment, a glass of something alcoholic in his hand and threadbare boxer shorts on his person. He’s depression personified, retiring from the university where the kids barely pay attention to him anyway (long gone are the “I love you” eyelids), estranged from Karen Allen’s Marion and watching the world go space crazy around him.\u003c/p>\n\u003cp>We’ll have to see him work back up to his adventuresome self. No training montages required, thankfully, just a plane ticket, his classic uniform (still fits!) and his old improvisational spirit. The cumbersome plot (script is credited to Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold) strains to justify and give meaning to the search for the Antikythera: The FBI is on the hunt for it, as is Nazi scientist Jürgen Voller (Mads Mikkelsen) for whom the war hasn’t ended, and the daughter (Phoebe Waller-Bridge) of Indy’s late partner Basil (Toby Jones) who was driven mad by the gadget. It’s a bit much, as are many of the overly elaborate and strangely murky-looking action sequences from the train in 1944 to a deep-sea diving sequence with killer eels. The movie hits its action high notes when it sticks to the tactile classics, like a brilliantly executed rickshaw chase in Tangier.\u003c/p>\n\u003cfigure id=\"attachment_13930945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930945\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png\" alt=\"A slender white woman in a red silk shirt stands in a busy gambling den that resembles a bazaar. She looks confident and self assured despite being surrounded by shady characters.\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Waller-Bridge in ‘Indiana Jones and the Dial of Destiny.’ \u003ccite>(Lucasfilm Ltd, via Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Waller-Bridge’s Helena is an enormously enjoyable character, too — a brilliant archeologist herself who’s chosen a more glamorous, dangerous and decidedly black market kind of existence, selling stolen antiquities to the world’s wealthiest and working her way out of debt. She’s introduced as a wild card and a lot of the tension is derived from whether Indy should trust her. It’s a very good non-romantic pairing of sharp-witted old souls, a generation apart. But you’d think in an almost two-and-a-half-hour film there might have been more time for one of our returning favorites, like John Rhys-Davies Sallah (he does get a few good moments).\u003c/p>\n\u003cp>[aside postid='arts_13883486']I’m not sure anyone had an especially burning need to know what Indiana Jones was up to lately, but at least it gives everyone a chance to end on a higher note than \u003ca href=\"https://www.kqed.org/arts/22759/indiana_jones_and_the_kingdom_of_the_crystal_skull\">\u003cem>Kingdom of the Crystal Skull\u003c/em>\u003c/a>. Or maybe Ford just needed some closure on one of his iconic characters so that everyone will stop asking him about them.\u003c/p>\n\u003cp>\u003cem>Indiana Jones and the Dial of Destiny\u003c/em> might not be \u003cem>Raiders\u003c/em> or \u003cem>The Last Crusade\u003c/em> but it’s solid, swashbuckling summer fare and a dignified sendoff to one of cinema’s most flawless castings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Indiana Jones and the Dial of Destiny’ is released June 30, 2023.\u003c/em>\u003c/p>\n\n",
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"excerpt": "It's 2023: Time to gaze at that rugged familiar face and go on one last adventure with the Indy we grew up with.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Goodbyes don’t tend to mean much in the Hollywood franchise system. Death isn’t a reliable end for characters or, lately, even actors. Technology, nostalgia and the often-inflated value of brands and IP have created a nightmarish cycle of resurrection and regurgitation, curdling what we love most.\u003c/p>\n\u003cp>And yet when someone like Harrison Ford says he’s hanging up Indiana Jones’ fedora, for better or worse, you believe him. \u003cem>Indiana Jones\u003c/em> producer Frank Marshall has also said that they won’t recast the character, which seems more dubious and, though well-intentioned, something he won’t be able to guarantee. All it takes is a new executive demanding a reboot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not that it would ever really work, though. Any self-respecting movie fan knows the truth: The magic of Indiana Jones belongs wholly to Harrison Ford. Apparently, he doesn’t even necessarily need Steven Spielberg behind the camera, though, to be fair, the foundation was well-laid for a veteran like James Mangold to step in. But there is no Indy — none that we care about anyway —without Ford.\u003c/p>\n\u003cp>In this way, it’s hard not to go into \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, in theaters Friday, without a sense of melancholy — not exactly the ideal state of mind for what should be, and mostly is, a fun summer blockbuster. But it certainly adds a poignancy to the whole endeavor whether the film merits it or not.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eQfMbSe7F2g'\n title='//www.youtube.com/embed/eQfMbSe7F2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If only it didn’t start with that pesky de-aging technology (the best it’s ever looked but it remains unsettling), giving us a 45-year-old Indiana Jones doing some of the wildest stunts we’ve ever seen our beloved archeology professor attempt — atop a speeding train to boot. This sequence is ostensibly there to introduce the film’s MacGuffin, Archimedes Antikythera, a real celestial calculation machine with extraordinary predictive capabilities that in the film is bestowed with some otherworldly powers.\u003c/p>\n\u003cp>But we know the real reason: It’s there to let us gaze at that familiar face and to go on one last adventure with the Indy we grew up with, before being thrust back reality with a nearly 80-year-old Ford (he’s 81 in July) playing a 70-something Indy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This isn’t inherently sad, but Dr. Jones is certainly reintroduced in the most unglamorous way possible: Sleeping on a reclining chair in a sad New York apartment, a glass of something alcoholic in his hand and threadbare boxer shorts on his person. He’s depression personified, retiring from the university where the kids barely pay attention to him anyway (long gone are the “I love you” eyelids), estranged from Karen Allen’s Marion and watching the world go space crazy around him.\u003c/p>\n\u003cp>We’ll have to see him work back up to his adventuresome self. No training montages required, thankfully, just a plane ticket, his classic uniform (still fits!) and his old improvisational spirit. The cumbersome plot (script is credited to Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold) strains to justify and give meaning to the search for the Antikythera: The FBI is on the hunt for it, as is Nazi scientist Jürgen Voller (Mads Mikkelsen) for whom the war hasn’t ended, and the daughter (Phoebe Waller-Bridge) of Indy’s late partner Basil (Toby Jones) who was driven mad by the gadget. It’s a bit much, as are many of the overly elaborate and strangely murky-looking action sequences from the train in 1944 to a deep-sea diving sequence with killer eels. The movie hits its action high notes when it sticks to the tactile classics, like a brilliantly executed rickshaw chase in Tangier.\u003c/p>\n\u003cfigure id=\"attachment_13930945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930945\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png\" alt=\"A slender white woman in a red silk shirt stands in a busy gambling den that resembles a bazaar. She looks confident and self assured despite being surrounded by shady characters.\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Waller-Bridge in ‘Indiana Jones and the Dial of Destiny.’ \u003ccite>(Lucasfilm Ltd, via Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Waller-Bridge’s Helena is an enormously enjoyable character, too — a brilliant archeologist herself who’s chosen a more glamorous, dangerous and decidedly black market kind of existence, selling stolen antiquities to the world’s wealthiest and working her way out of debt. She’s introduced as a wild card and a lot of the tension is derived from whether Indy should trust her. It’s a very good non-romantic pairing of sharp-witted old souls, a generation apart. But you’d think in an almost two-and-a-half-hour film there might have been more time for one of our returning favorites, like John Rhys-Davies Sallah (he does get a few good moments).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’m not sure anyone had an especially burning need to know what Indiana Jones was up to lately, but at least it gives everyone a chance to end on a higher note than \u003ca href=\"https://www.kqed.org/arts/22759/indiana_jones_and_the_kingdom_of_the_crystal_skull\">\u003cem>Kingdom of the Crystal Skull\u003c/em>\u003c/a>. Or maybe Ford just needed some closure on one of his iconic characters so that everyone will stop asking him about them.\u003c/p>\n\u003cp>\u003cem>Indiana Jones and the Dial of Destiny\u003c/em> might not be \u003cem>Raiders\u003c/em> or \u003cem>The Last Crusade\u003c/em> but it’s solid, swashbuckling summer fare and a dignified sendoff to one of cinema’s most flawless castings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Indiana Jones and the Dial of Destiny’ is released June 30, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There have been countless thrillers about women who shut themselves away in their homes, only to learn that the world inside may be even more terrifying than the one outside. Not all of them are winners; for every ’60s classic like \u003cem>Repulsion\u003c/em> or \u003cem>Wait Until Dark\u003c/em>, there’s also a howler like last year’s overwrought Hitchcock homage \u003ca href=\"https://www.npr.org/2021/05/14/996178421/the-woman-in-the-window-locks-amy-adams-inside\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Woman in the Window\u003c/em>\u003c/a>\u003cem>.\u003c/em> The gripping new movie \u003cem>Kimi\u003c/em> is a nifty little addition to the shut-in canon. Like a lot of \u003ca href=\"https://www.npr.org/2013/05/21/180640022/soderberghs-liberace-behind-the-candelabra\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Soderbergh\u003c/a>‘s output of late, it’s a sleek, low-budget genre exercise that’s eerily keyed into our current moment.\u003c/p>\n\u003cp>The movie takes place sometime mid-pandemic and follows a 30-something woman named Angela, played by a terrific Zoë Kravitz. She works for a large Seattle tech firm that manufactures Kimi, one of those virtual home assistants, like Siri or Alexa, that will dim your lights, play your music and patiently try to answer your every question.\u003c/p>\n\u003cp>[aside postid='arts_13908728']Angela has a Kimi of her own, which comes in handy since she never leaves her spacious loft apartment. She’s agoraphobic, and while she got a handle on her anxiety years earlier, she lost it again during COVID lockdown.\u003c/p>\n\u003cp>Angela’s job is to make Kimi smarter and more user-friendly. She listens to audio streams from customers whose requests Kimi didn’t understand—and then writes code that will fix the issue. One day, she hears a disturbing clip of a woman screaming and realizes that Kimi must have somehow recorded a violent crime in progress. But when Angela tries to report her findings to the company, she’s given the runaround and told to forget about what she heard. When she doesn’t and starts learning more about the victim, who appears to have been brutally murdered, things get unexpectedly hairy.\u003c/p>\n\u003cp>It’s a pleasure to watch Angela turn digital sleuth; Soderbergh is the kind of filmmaker so focused on minutiae that he can wring suspense from shots of typing fingers and blinking cursors. Eventually, Angela is told to come down to the office and meet with a company executive, forcing her to leave her apartment for the first time in months.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A8QvFlhO14k\u003c/p>\n\u003cp>Soderbergh and his screenwriter, David Koepp, have structured \u003cem>Kimi\u003c/em> as a sly 21st-century riff on classic paranoid thrillers from the 1970s. The fact that Angela is both surveilling and being surveilled harks back to \u003cem>The Conversation\u003c/em>, while the sinister corporate conspiracy she uncovers echoes \u003cem>The Parallax View\u003c/em>. Paranoia, of course, isn’t an inappropriate response to a world where anyone with a smartphone knows that they’re being closely tracked.\u003c/p>\n\u003cp>\u003cem>Kimi\u003c/em> packs a lot of ideas into its brisk 89-minute running time about the pervasiveness of digital technologies, especially at a moment when COVID has made us more reliant on them than ever. But the movie also works like gangbusters as a pure thriller, from its outdoor chase sequences shot across downtown Seattle to its squirmingly tense \u003cem>Panic Room\u003c/em> finale.\u003c/p>\n\u003cp>[aside postid='arts_13907789']It wouldn’t work nearly as well without Kravitz, who makes for an extremely likable protagonist in part because her character has no interest in seeming likable. Angela’s anxiety earns your sympathy, and her persistence and resourcefulness earn your respect. But she can also be impatient and inconsiderate of the people in her life, whether it’s her mom, whom she argues with on FaceTime, or the love interest who lives in the apartment across the street, in a tip of the hat to Hitchcock’s \u003cem>Rear Window\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Angela’s only human, in other words, and while most viewers may not share her agoraphobia, many of us can identify with her fears of going out after months of isolation. That’s why it’s both harrowing and moving when she finally musters the courage to leave home. Soderbergh, who shot and edited the film, uses tilted camera angles and bustling city noises to convey a sense of Angela’s disorientation. But as she moves forward, Angela adjusts, and \u003cem>Kimi \u003c/em>becomes a story about what it’s like to reconnect with the world. That world might be a big, scary place, but it’s not necessarily scarier than what’s going on indoors, where someone might always be watching—or listening.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Kimi%27+is+a+pandemic-era+thriller+that%27s+eerily+keyed+into+our+current+moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There have been countless thrillers about women who shut themselves away in their homes, only to learn that the world inside may be even more terrifying than the one outside. Not all of them are winners; for every ’60s classic like \u003cem>Repulsion\u003c/em> or \u003cem>Wait Until Dark\u003c/em>, there’s also a howler like last year’s overwrought Hitchcock homage \u003ca href=\"https://www.npr.org/2021/05/14/996178421/the-woman-in-the-window-locks-amy-adams-inside\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Woman in the Window\u003c/em>\u003c/a>\u003cem>.\u003c/em> The gripping new movie \u003cem>Kimi\u003c/em> is a nifty little addition to the shut-in canon. Like a lot of \u003ca href=\"https://www.npr.org/2013/05/21/180640022/soderberghs-liberace-behind-the-candelabra\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Soderbergh\u003c/a>‘s output of late, it’s a sleek, low-budget genre exercise that’s eerily keyed into our current moment.\u003c/p>\n\u003cp>The movie takes place sometime mid-pandemic and follows a 30-something woman named Angela, played by a terrific Zoë Kravitz. She works for a large Seattle tech firm that manufactures Kimi, one of those virtual home assistants, like Siri or Alexa, that will dim your lights, play your music and patiently try to answer your every question.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Angela has a Kimi of her own, which comes in handy since she never leaves her spacious loft apartment. She’s agoraphobic, and while she got a handle on her anxiety years earlier, she lost it again during COVID lockdown.\u003c/p>\n\u003cp>Angela’s job is to make Kimi smarter and more user-friendly. She listens to audio streams from customers whose requests Kimi didn’t understand—and then writes code that will fix the issue. One day, she hears a disturbing clip of a woman screaming and realizes that Kimi must have somehow recorded a violent crime in progress. But when Angela tries to report her findings to the company, she’s given the runaround and told to forget about what she heard. When she doesn’t and starts learning more about the victim, who appears to have been brutally murdered, things get unexpectedly hairy.\u003c/p>\n\u003cp>It’s a pleasure to watch Angela turn digital sleuth; Soderbergh is the kind of filmmaker so focused on minutiae that he can wring suspense from shots of typing fingers and blinking cursors. Eventually, Angela is told to come down to the office and meet with a company executive, forcing her to leave her apartment for the first time in months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/A8QvFlhO14k'\n title='//www.youtube.com/embed/A8QvFlhO14k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Soderbergh and his screenwriter, David Koepp, have structured \u003cem>Kimi\u003c/em> as a sly 21st-century riff on classic paranoid thrillers from the 1970s. The fact that Angela is both surveilling and being surveilled harks back to \u003cem>The Conversation\u003c/em>, while the sinister corporate conspiracy she uncovers echoes \u003cem>The Parallax View\u003c/em>. Paranoia, of course, isn’t an inappropriate response to a world where anyone with a smartphone knows that they’re being closely tracked.\u003c/p>\n\u003cp>\u003cem>Kimi\u003c/em> packs a lot of ideas into its brisk 89-minute running time about the pervasiveness of digital technologies, especially at a moment when COVID has made us more reliant on them than ever. But the movie also works like gangbusters as a pure thriller, from its outdoor chase sequences shot across downtown Seattle to its squirmingly tense \u003cem>Panic Room\u003c/em> finale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It wouldn’t work nearly as well without Kravitz, who makes for an extremely likable protagonist in part because her character has no interest in seeming likable. Angela’s anxiety earns your sympathy, and her persistence and resourcefulness earn your respect. But she can also be impatient and inconsiderate of the people in her life, whether it’s her mom, whom she argues with on FaceTime, or the love interest who lives in the apartment across the street, in a tip of the hat to Hitchcock’s \u003cem>Rear Window\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Angela’s only human, in other words, and while most viewers may not share her agoraphobia, many of us can identify with her fears of going out after months of isolation. That’s why it’s both harrowing and moving when she finally musters the courage to leave home. Soderbergh, who shot and edited the film, uses tilted camera angles and bustling city noises to convey a sense of Angela’s disorientation. But as she moves forward, Angela adjusts, and \u003cem>Kimi \u003c/em>becomes a story about what it’s like to reconnect with the world. That world might be a big, scary place, but it’s not necessarily scarier than what’s going on indoors, where someone might always be watching—or listening.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Kimi%27+is+a+pandemic-era+thriller+that%27s+eerily+keyed+into+our+current+moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"tagline": "Local news to keep you rooted",
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