The Social Redroom is a fictitious social networking site that’s similar to others that you may already be familiar to, like Facebook. And like Facebook, The Social Redroom (which coincidentally(?) reminds me of ‘redrum;’ ‘murder’ spelled backwards) also does experiments on its users without their knowledege, all in an effort to find what it is that makes users ‘tick.’
But what happens your their efforts go seriously awry (which if you’ve seen the movie is probably the understatement of the decade)?
That’s the idea at the heart of Antisocial–it’s probably not a coincidence that the title is similar to David Fincher’s movie, The Social Network, though what’s a bit odd is that it in a way covers similar subject matter (without the physical violence, though there was plenty of the psychic variety).
It’s a conceit that works remarkably well because the ideas that animate the movie are familiar to anyone with even a passing understanding of how human nature, capitalism and the Internet work.
It’s also not a gratuitously gory movie, though I’d be lying if I said that there weren’t body fluids of the red variety shed. And speaking of gore, most of it is deliciously practical, which isn’t to say that there isn’t CGI, though it’s not gratuitous.
What’s also surprising is how well-acted this movie is. There’s none of that wink, wink, nudge, nudge stuff at one end of the spectrum, or histrionics at the other.
Just people caught up in circumstances way, way, way beyond their control. It’s a trip. I haven’t felt this positive about a horror film since The Den.
It’s that awesome.
Kudos all around for director Cody Calahan, who also co-wrote the movie with Chad Archibald, though I’d be amiss if I didn’t mention that the exemplary lighting by Jeff Maher and the music by Steph Copeland.
And what every you do, get off the damn computer. Go outside and perhaps spend a little time with someone you love because The Social Redroom is coming, and it’s a killer.
Antisocial is currently on Netflix.