My quick rating - 4.1/10. This flick presents an interesting premise for me being a gamer. Professional gamer Hana (Sasha Luss), battling acute agoraphobia, receives advanced gaming equipment that seemingly reads her mind, sparking questions of whether it’s aiding her or controlling her. Despite the potential, the execution sure leaves much to be desired. The film, marketed as action-horror, falls short on both counts. The few scares involving ghosts feel forced and lack genuine tension. The action is minimal, which may disappoint viewers expecting more dynamic scenes typical of the horror genre. Instead, it leans more towards being a psychological thriller, though it doesn't fully commit to this path either. A significant flaw is the absence of immersive gaming scenes. We never actually see Hana playing the game this revolutionary equipment is supposed to enhance, which disconnected me from the central plot device. This missed opportunity undermines the film’s ability to fully engage its viewers. Set primarily in a single, gloomy room, the film's production design does convey Hana's isolation and mental state effectively. However, the one-location setup might contribute to the overall sense of stasis and monotony that plagues the narrative. Luss delivers an adequate performance as Hana, capturing her character's vulnerability and growing paranoia. Alexis Ren, playing Hana’s friend Jen, is also noteworthy, although her striking resemblance to Luss had me momentarily confused. The cast’s efforts are commendable, but they are hindered by the film's lackluster script and direction. At 94 minutes, "Latency" still manages to feel padded with filler. Writer-director James Croke struggles to find a cohesive tone, neither fully committing to horror nor excelling in action elements. The central concept of control and mind games has potential but feels underdeveloped, making the film seem like a stretched-out short story rather than a fully realized feature. As it stands, it’s a thriller that doesn't thrill and a horror that doesn’t horrify, leaving it stranded in a cinematic no-man’s-land.
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