![]() ![]() The conclusion of the home invasion being such a moment, where there should be a greater air of seriousness and stress – but the scene plays out very comically. Though Preston’s eccentric nature can be effective at times, he can be jarring, with some actions of his coming off much goofier than they should be. Nothing against the guy’s acting, but the character’s super unhinged nature dips into melodrama. However, Fazlali plays the character a little too intensely. What I can say is that he is a real intense guy – cruel, abrasive, and a genuine threat. Without getting into spoilers, I can’t say much about who Preston is, but suffice to say, his role is a major element that plays into the dynamic between Reed and Emmy. Preston ( Behtash Fazlali) breaks into Reed’s home, looking to crack a safe of his full of cash. The strain between Reed and Emmy is authentic, which in turn helps to establish an even more tense mood when the home invasion portion of the film kicks in. The camera continues to linger for long periods of time – whether it’s on someone’s face or on a room as a whole – communicating how far apart these two are. Several scenes have a blue tint to them, highlighting an air of coldness much like the scenes from earlier where it was only Reed in the house, the film continues to use silence as a powerful tool in conveying emotion. While Emmy does vocally speak to the specifics regarding the anger she has for her father, so much of their distance is conveyed through atmospheric detail. What is intriguing about their interactions is how much the visual and auditory elements of the film say about their relationship. Emmy mentions going to school for photography, hence Reed buying the camera lens for her. The two have minimal interaction beyond that of short, heated conversation – the latter coming from Emmy since Reed can’t talk. Things pick up when Emmy finally arrives to his home. ![]() At one point, we see him pull up a social media profile of a young woman – who the viewer learns later is his daughter – and then purchase a very expensive camera lens. This time helps to build upon the sense that Reed is frustrated and feels lonely. The film takes its time to coast along and settle on quiet moments where Reed is alone. Given that he can’t talk, we get glimpses of texts from others reaching out to him and his replies. The audience doesn’t know much about Reed up front what little exposition does come through is in how the audience sees Reed struggle to write, as well as the text that appears onscreen. Let alone that this dramatic element makes for a compelling dynamic, it also serves to present an intriguing twist on the home invasion genre. ![]() Directed by Alexander Sharp, written by Sharp and Peter Malone Elliott, the film makes for an intimate drama-thriller involving a daughter who has been wronged by her father and that father wanting to be better. ![]() Where Wired Shutsets itself apart from other home invasion films is in the relationship between these two characters. When a plan to rob Reed goes awry, the two are tested – they must work together or face a terrible fate. She shares that her mom thought it might be a good idea for her to spend some time with him before she heads off to school but when Reed learns from his ex-wife that she did not send Emmy to him, one begins to wonder what Emmy’s intentions may be. Things become a little more eventful for him when his estranged daughter Emmy ( Natalie Sharp) arrives to visit him. With his mouth wired shut, he is left to linger about his home – sitting around on his laptop and slurping away at his nutritional drinks through a large straw. Reed Rodney ( Blake Stadel) is a famous writer who is not only in a creative slump, but has also endured a brutal accident. ![]()
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