Review: Motion Detected

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

Motion Detected
Directed by Justin Gallaher; Sam Roseme
Asterlight; Freestyle Digital Media
www.freestyledigitalmedia.tv/film/motion-detected/
80 minutes, 2022 / 2023

As much as this is a thriller (rather than horror) about a fear of one’s environment, it is also an acknowledgement of a dread of AI technology in what is supposed to be the sanctity of the safety of home. A recent subgenre has focused on home invasions, such as with Becky (2022), but those deal with the human element. This is more in the line of Demon Seed (1977), as self-aware digital manipulation rather than, say, robots are the issue. But it seems there may be even another side to this.

After a quick prologue that gives a whole new meaning to the idea of the monster in the closet, we meet Eva (Natasha Esca) and Miguel (Carlo Mendez), who are house hunting in Los Angeles after moving from Mexico City thanks to some violence by a gang called El Diablo that occurred there. The shady real estate agent, Julie (Katelyn MacMullen in a cameo, who has been Willow Tate on “General Hospital” since 2018 for over 450 episodes), is a bit of a cliché for these kinds of films, although usually appearing in renting haunted houses in the trope.

The casa in question is a “smart house” that has controls, cameras, security systems, and so much more, run by – get this – Diablo Controls. The voice (Jasmin Walker) of the system talks in a steady monotone, reminiscent of a female version of HAL in 2001: A Space Odyssey (1968), or even Siri and the “Read Aloud” feature on Microsoft Word. Wonder where this is going… Hmmmm. Meanwhile, PTSD-ridden Eva is stuck alone in the house on the first night by her husband who returns to New Mexico for a business trip. ‘Natch. So now we know who is the main character.

Eva is struggling to figure out her own paranoia and fear, and the new system in the house. Plus, bad dreams are not helping. Meanwhile, something glitchy this way comes as a digital, staticky looking CGI figure is seen roaming about.

A nice touch is a mixture of possibly malevolent technology and perhaps something else, mixed with an older Latinx religious aspects as Eva visits the dark, mystical version of Christian voodoo (if you will) Templo Santa Muerte, a real place on Melrose. Love it when both religion and technology mix in a story, with it being in conflict rather than on the same side. Another thing I noticed is that although they had all the modern tech, such as phones, computers, etc., there was no television in the house. Again, hmmmm. 

There is a bit of overlaps from previous films, seen in moments that could have been influenced by the likes of the Paranormal Activity franchise (starting in 2007), spooky kitchen action via Poltergeist (1982), and Prince of Darkness (1987).

There is no doubt that this is Esca’s film, as she is in nearly all scenes. She carries the role well, being both sympathetic and still giving a vibe of strength within the PTSD from the past (other than giving into a vice or two under stress). Everyone else in this limited cast is there fleetingly, including Mendez, such as Diablo technician Ray (Roland Buck III), Eva’s on-line therapist Dr. Olivares (KIimberli Flores), nosy neighbor Nancy (Julie Brister), and rattled co-Diablo client Reed (Bob Clendenin, a semi-regular on “Scrubs” and “Cougar Town”). A cast this minimal gives me the impression it was possibly filmed during the COVID period.

My one issue with it, though, is that it is too long for the actual story, with a lot of roaming around the house and grounds with dissonant music playing on the soundtrack. It was the only time I was truly distracted and taken out of the story. And this has nothing to do with anything really, but why do so many genre films have gratuitous scenes of someone brushing their teeth? It seems to have replaced the nude shower moments that used to be so prevalent. Pet peeve, sorry.

On the other hand, the soundtrack is sparkling, filled with Latin music that is both contemporary, and yet feels somewhat traditional at the same time (think of the equivalent of a new band who plays classic rock).

My feeling is that they are thinking of doing this as a franchise, for three reasons: first, there are a lot of users indicated that use Diablo Controls, so that leaves room for many more stories. Second and third, is the what and why of Diablo. What is the reason for this all happening, and what is the motive behind it. Perhaps they will continue with the stories, or perhaps, at some time do an origin piece, all of which I would be interested in seeing.

This is an enjoyable entry into the ghost in the machine category, stretching the envelope a bit here and there, mixing and matching genres and tropes effectively. A great start for the directorial debut of both Gallaher and Roseme, who are known more for screenplays and producing.

This film is available on Digital HD and VoD, including iTunes, Amazon, Vudu, Comcast and Verizon.

IMDB listing HERE