Spree
shudderOn the one hand, there is a lot to like in Eugene Kotlyarenko's Spree: Joe Kerry's performance – in what is his breakout leading role – or the incredibly well-executed found-footage aesthetic. However, on the other, Kotlyarenko's film is incredibly undercooked regarding its themes and execution of mental illness.
To start off with the good would be an excellent place to give raving credit to Stranger Things Alumni Joe Kerry, of whom puts forward quite the turn here as social media obsessed Kurt. A character engulfed with a follower count and social media presence, he would go as far as any extreme to gain it. Kerry implements a dynamic and robust performance with a role that showcases engaging range for the actor to convert those otherwise convinced that he is a pure one-trick pony. It is clear, however, that Kerry has a lot more growth within his ability left to give, and while this is a taste of what Kerry can craft, it is only a decent starting point for what Kerry can achieve.
More impressive than Kerry's turn is the cinematography and found footage aesthetic implemented. On the surface, such a narrative device is often a gimmick and a redundant technique. However, here, such an evolution not only heightens the dramatic nature but ultimately elevates the tonal balance. The satirical comedic nature is intensified and more palpable due to the creativity, and the more genre-specific outlandish characteristics are justified. Unlike Unfriended: Dark Web or Searching, the found-footage aesthetic is not stationary and instead is a living, breathing entity. With this creativity, the camera work can often feel jarring and visually overworked yet is always engaging.
The problem arises in Spree with its lacking investigation into Kurt's descent and the overall features of conversation on mental illness surrounding social media. It should be noted that, yes, Spree does touch on the depths Kurt will go, but it feels excessively hollow and uninterested in digging deeper than surface-level theory. The opportunity to really dive deep and look at the generational impact of a follower count or viral mentality has never been on the cards in a more explicit capacity than this. Spree, instead, waivers its time in highlighting spilled blood and gore without really questioning the why but instead just focusing on the how – with the latter being the most disinteresting attribute the film boasts.
Eugene Kotlyarenko's Spree is not an un-engaging or dull feature. Very much the contrary, in fact. The film's more significant and most glaring issue is that it could be far more with just a further substantial and aware acknowledgement of its themes. Elements that, without, merely make this an enjoyable thriller instead of something so much more profound.
