More than once a Netflix movie choose or die uses the idea of a cursed object capable of attracting evil on a large scale as its central point of interest. In addition, he shows it as something happening on the periphery, in the style of great urban legends. Much of Simon Allen’s script is devoted to the question of distinguishing evil from the inexplicable.
No one fully understands why the game’s plot is based on a gateway to the supernatural. And there is not much interest in explaining it. For most footage a secret has the weight of a white spot that is no good. And in fact, it weights the story towards a slightly confusing perception of good and evil, not fully clarified.
On the other side, choose or die analyzes evil from the possibility of how the inexplicable reacts to technology. An ingenious resource that the argument does not fully explore, or does so irregularly and incompletely. The twist that movies love Ring Gore Verbinski and Guest Rob Savage deftly digs. choose or die lacking the audacity to vent evil from a place newer than menace. And he turns his main message – an urban myth turned into a real threat – into an occasion for feverish dramatization.
The point of view of this Netflix movie could have worked even with a superficial treatment. He did this despite the poor quality of the plot in Remove from friends Levan Gabriadze, in which the technological becomes a real supernatural threat. But in choose or die It is not entirely clear what layer the director wants to show about the danger lurking.
A curse destined to repeat itself, a fatal and terrible coincidence that became a monstrous event? The film is not interested in going deeper on this subject, and one of his lowest points is precisely his inability to answer his own questions. choose or die it goes from one side to the other, in the midst of the perception that the inexplicable is part of a hidden whole.
This is from vague omniscience. A game that can kill through some kind of eerie question-and-answer sequence doesn’t obey any parameters. Thus, from the very first scene, it becomes clear that creepiness is also a dark center that contains unfinished storylines. AT choose or die it is not clear why the most violent and violent scenes occur. Nor is it the reason why this cursed artifact obeys seemingly random rules at the most unpredictable times. And it is not in the interests of the film to tell a more detailed context.
Fear, game, amazing landscape without any content
From his first scenes the film makes it clear that its purpose is to set the stage for an unfinished mystery.. In a kind of prologue about the rules that support his message, he makes it clear that the video game at the center of the argument is a proposal. Also, a kind of outdated tech evil storytelling mechanism that has no real impact, visual or narrative. In fact, much of the sequence is based on the concept of almost random terror.
From the very first appearance, the game that tells the story is a mystery that may or may not be solved. choose or die He is not very interested in telling what is happening or how the past, the origin of his artifact, is connected to the plot. As the unsuspecting player tries to figure out what’s going on, blood erupts around him.
But there is no true narrative that supports what is happening. Does the game mechanism create the conditions for horror? Is there a way to stop it? Is it based on the supernatural or something else? The script develops awkwardly and ends up leaving most questions unanswered. Even more worrisome: the film does not pay much attention to its internal tension. It seems that the game can change and refine its own parameters to suit the plot. And do it every time the movie calls for it.
Aimless and pointless – Choose or die, poor choice of resources
choose or die it also doesn’t require too much effort, because the visual part is appropriately connected to the story, which depends – or should – on its visual resources. yes in let’s go playaccording to Jacob Chase, the monstrous, which manifests itself technologically, is intelligently recreated, choose or die chooses the obvious. A flaw that turns the disturbing into a combination of ineffective clichés. By the time the second part comes out – and the mysterious game shows all its possibilities – the need for an explanation becomes more obvious.
Much more so when the whole scenario depends on understanding how to defeat his dark mechanism. When Kayla (Iola Evans) decides to play for a prize that could save her from poverty, the game turns from a cursed object into something more. But this transition into darkness—or danger—is incomprehensible. Much more so when it’s barely balanced in an increasingly convoluted narrative that eventually becomes predictable.
For your last scene choose or die it showed more ambition than skill in his execution. Also, a huge clumsiness in telling a story that could have been more than blood mixed with the supernatural. A meaningless and nonsensical film ends up becoming a collection of commonplaces as commonplace as they are harmless. Probably the worst thing to say about a horror movie.
Source: Hiper Textual
