"I remember reading somewhere that men learn to love the person that they're attracted to, and that women become more and more attracted to the person that they love."

"James Spader - Graham Dalton"

"I think that um... I think that sex is overrated. I think that people place far too much importance on it, and I think that stuff about women wantin' it just as bad as men is crap. I mean I think that women want it, I just don't think that they want it for the same reason that men think they do."

"Steven Brill - Barfly"

"[having just seen Ann's videotape] I wasn't going to say anything, 'cause I thought you'd be devastated. But looking at you now. [snicker] Yeah, I fucked Elizabeth. Before your problem. Hell, while you two were going out. She was nothing special. She was good in bed. [beat] She sure could keep a secret. That's about all I can say about her. [after John leaves, Graham goes inside and destroys all the videotapes]"

"Peter Gallagher - John Mullany"

"You're so good at this. You cannot say that we've created so far isn't special. So I'm not going to just let us give up on it."

"Without further ado, I give you the visionary artist, Magic Mike."

"Joe Manganiello - Big Dick Richie"

"Matt Bomer - Ken"

"Salma Hayek - Maxandra Mendoza"

"I just wanted to escape my life. But then, you came along, and gave me this unexpected, magical moment, that made me remember who I really was."

"Alan Cox - Roger"

"People are numb, disconnected. We're going to wake them up with a wave of passion they've never felt before."

"Channing Tatum - Michael "Magic Mike" Lane"

"Caitlin Gerard - Kim"

"I want every woman that walks into this theater to feel that a woman can have whatever she wants, whenever she wants."

"Jemelia George - Zadie"

"Gavin Spokes - Matthew"

"Adam Rodríguez - Tito"

"Ayub Khan Din - Victor"

"Kevin Nash - Tarzan"

"You're not shutting me down. Not this time!"

"I'm going to put on a show at this famous theater."

"Christopher Bencomo - Kim's Husband"

"Yeah. For the right amount of dollars, I think you can have as vibrant as a time as you like."

"Vicki Pepperdine - Edna Eaglebauer"

"Juliette Motamed - Hannah"

"as the voice of Kimi"

"as Angela Childs"

"as Natalie Chowdhury"

"Kimis obvious inspirations include Rear Window (when it comes to the homebound Angela’s relationship to the wall of windows outside) and Blow Out (in its treatment of the audio evidence and the conspiratorial forces she stumbles onto). Its Hitchcockian aspirations are further signaled by the lush score from Cliff Martinez, which is deliberately out of step with the sleek, tech-centric setting."

"Soderbergh drops us into that world with a casualness that's unnerving precisely because of how unnerving it is't; this is how we live now, he and screenwriter David Koepp suggest, with a pandemic outside our windows and the world at our fingertips. Most of "Kimi" unfolds in the spacious Seattle loft that Angela calls home, though we soon see that it has also become her gym, her workspace and her permanent refuge. Like the heroine of last year’s misbegotten "The Woman in the Window" and many a shut-in protagonist before her, Angela (played by Zoë Kravitz) is agoraphobic, an anxiety disorder she says she’d gotten a handle on until COVID-19 lockdown set in. Now she's content never to leave her almost entirely Kimi-run apartment, outsourcing menial tasks to an inanimate hub that records her every data point and keeps her under 24-7 digital surveillance."

"She's not the only one listening"

"as Dr. Sarah Burns"

"And, trust me, I know bad. I used to moderate for Facebook."

"Ah, this is Romania. MeToo is like 50 years away."

"The nexus of tech and crime in "Kimi" packs a personal and a collective outrage at the ways in which tech companies have abandoned their civic responsibility and allowed, even fostered, propaganda—whether anti-vax or conspiracy-theorist or racist or misogynistic or anti-Semitic or xenophobic—that has got people killed. The depraved indifference in the name of stock prices finds its symbol in Kimi—not only in the way it's managed but also in its seemingly innocent domestic presence. The blatant but forceful metaphorical condensation of world-spanning power in a conical gizmo energizes Soderbergh's direction throughout; it appears inseparable from the physicality and the visual intensity that distinguish the movie from more routine storytelling."

"Ruthless and precise, Steven Soderbergh's "KIMI" is a timely commentary on isolation and intrusion. Anchored by a striking performance from Zoë Kravitz, it sees the expert craftsman working with genre again, like how he did in "Side Effects" and "Unsane," taking a classic concept right out of "Rear Window" or "Blow Out" and making it current to the era of Covid-19 and Alexa."

"If you think you've seen this movie, you have and you haven't. "KIMI" self-consciously draws from an assortment of cinematic referents, including obvious touchstones like "Rear Window" and woman-in-peril-at-home thrillers like ".""

"as Terry Hughes"

"as Tall Thug"

"Only now, at a time of slow-motion crisis in the industry (will audiences come back to theaters?) and seriously over-inflated budgets, Soderbergh's latest little movie, the nimble and sinister cyber-age corporate thriller "Kimi," plays as an object lesson in showing us a way forward. It's a welcome reminder that less, in the movies, can sometimes be more. It's also an art-suspense pastiche that's clever enough to hook you. More than half the film is set in a spacious, second-floor renovated industrial loft condo in Seattle, where Angela Childs (Zoë Kravitz), a waifish millennial in a wavy bob of blue hair, stares out her window, taking in the late-morning sun as she checks out the neighbors in the apartment building across the street (a couple of them look back)."

"as Angela's dentist"

"as Christian Holloway"

"In a sleek 89 minutes, writer David Koepp (whose similarly contained thriller Panic Room was notably watched by Soderbergh twice last year) keeps things refreshingly simple and stringently devoid of any extraneous padding. It's no surprise, after an opening tease concerning the financial specifics of the company behind Kimi, that there's a conspiracy to unravel but it unravels with a quick ease, an age-old tale of the hero who saw too much and the villain who wants to keep them quiet. We know where films like this tend to go, and Kimi is light on genuine surprise, but Koepp and Soderbergh keep most of it grounded, avoiding the clumsy narrative leaps these films often resort to, making so much of it feel awfully credible."

"as Angela's mother"