The theatrical conceit that sustained Enda Walsh’s original play – an online chatroom presented as a physical reality – feels both slender and trite in Hideo Nakata’s adap, a cautionary tale about cyberbullying that seems at least a decade out of date.
Aaron Johnson exudes a demonic charisma as the anti-social networker manipulating a group of teen misfits, while the various imaginary headspaces are strikingly designed.
But the plot is bilge, while the sniffily moralistic tone will be laughed off the screen by the yoof communities it seeks to dramatise.
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