“He doesn’t need words.”Naadirah
It is unsurprising that, after the lukewarm reception of Warcraft, Duncan Jones chose to return to smaller scale sci-fi. The relative freedom of Netflix funding was squandered on the tale of a mute bartender searching for his missing girlfriend in near-future Berlin. Near-silent protagonists taking on criminal elements invariably means style over substance, though both Drive and Baby Driver have shown it can be successful. Although the cyberpunk visuals are impressive, they are little more than a painted backdrop for uninteresting characters in a messy story that veers into uncomfortable territory due to poor handling of its darker subject matter. The setting invites an unflattering comparison with Blade Runner, seeking to evoke its atmosphere without any world building (the best attempts being the nods to Mute existing in the same universe as Jones’ debut Moon).