"At a time when Facebook guru Mark Zuckerberg's ambivalence about privacy issues and his ambitious Metaverse plans have cast him in a dubious light, it feels appropriate to make a villain out of a tech conglomerate CEO eyeing a squillion-dollar personal profit from an IPO. And it's a sly inside joke to cast neo-illusionist Derek DelGaudio in the role of Amygdala Corporation chief Bradley Hasling, taking his company public on the strength of a virtual assistant called Kimi."

"Crucially, Kravitz's performance isn't overly concerned with coming across as likeable. She's short with people. A little cold, sometimes. "Covid was a little bit of a setback," she admits, shrugging off her trauma as if it were just another daily toil. Without the exhausting mantle of self-prescribed importance, Kimi has successfully captured how the pandemic, for many, has felt like watching an invisible hand slowly chip away at their lives. Sitting all day on Zoom and yet feeling lonelier than ever is an exhausting experience."

"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."

"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)."

"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 ".""

"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."

"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."

"Chin Han - Sun Feng"

"Someone doesn't have to weaponize the bird flu. The birds are doing that."

"We're working very hard to find out where this virus came from. To treat it and to vaccinate against it if we can. We don't know all of that yet, we just don't know. What we do know, is that in order to become sick you have to first come in contact with a sick person or something that they touched. In order to get scared, all you have to do is to come in contact with a rumor, or the television or the internet. I think what Mr. Krumwiede is uh... is spreading, is far more dangerous than the disease."

"You know where this comes from, shaking hands? It was a way of showing a stranger you weren't carrying a weapon in the old days. You offered your empty right hand to show that you meant no harm."

"The average person touches their face 2- or 3000 times a day. Three to five times every waking minute. In between, we're touching doorknobs, water fountains, elevator buttons, and each other. Those things become fomites."

"How fast it multiplies depends on a variety of factors. The incubation period, how long a person is contagious. Sometimes people can be contagious without even having symptoms."

"Somewhere in the world, the wrong pig met up with the wrong bat."

"It's a bad day to be a rhesus monkey."

"[about the virus] Godzilla, King Kong, Frankenstein all in one."

"Dr. Ian Sussman: [Disparagingly to Alan] Blogging is not writing. It's just graffiti with punctuation."

"Jory Emhoff: [Rhetorically] Why can't they invent a shot that keeps time from passing?"

"Nothing spreads like fear."

"Don't talk to anyone. Don't touch anyone."

"No one is immune to fear."

"Marion Cotillard - Dr. Leonora Orantes"

"Matt Damon - Mitch Emhoff"

"Laurence Fishburne - Dr. Ellis Cheever"

"Jude Law - Alan Krumwiede"

"Gwyneth Paltrow - Elizabeth "Beth" Emhoff"

"Kate Winslet - Dr. Erin Mears"

"Bryan Cranston - Rear Admiral Lyle Haggerty"

"Jennifer Ehle - Dr. Ally Hextall"

"Elliott Gould - Dr. Ian Sussman"

"John Hawkes - Roger"

"Anna Jacoby-Heron - Jory Emhoff"

"Josie Ho - Li Fai's sister"

"Sanaa Lathan - Aubrey Cheever"

"Demetri Martin - Dr. David Eisenberg"

"Armin Rohde - Damian Leopold"

"Enrico Colantoni - Dennis French"

"Monique Gabriela Curnen - Lorraine Vasquez"

"Amr Waked - Rafik"

"[while performing the Boogie Woogie] As the next part of the Boogie Woogie is so strange that it calls for an explanation, is called a Boogie Woogie break. And when I'm playing it and, like, stop at a certain point, you're going to think I forgot the music. But I didn't forget the music; there's just no music written for that part. That's why they call it a break."

"Boyd Holbrook - Cary James"

"Scott Bakula - Bob Black"

"Debbie Reynolds - Frances Liberace"

"Rob Lowe - Dr. Jack Startz"

"Dan Aykroyd - Seymour Heller"

"Matt Damon - Scott Thorson"

"Michael Douglas - Liberace"

"[Scott imagines seeing Liberace performing one last time. Last lines] To dream the impossible dream. To be better far than you are. To try, when your arms are too weary. To reach the unreachable star. This is my quest to follow that star. No matter how hopeless. No matter how far. Be willing to give and there's no more to give. Be willing to die so that honor and justice may live and I know and I'll only be true to this glorious quest. My heart, shall lie peaceful and calm, when I'm laid to my rest. Thank you. Thank you. You have made me the happiest piano player who has ever lived and no matter what I still believe and always will. Too much of a good thing is wonderful."

"[to Scott] Well, this must be fate."

"I really thank you all for joining me in this Boogie Woogie, and I'd like to try a little experiment. I've been playing this Boogie Woogie at eight beats to the bar. I'd like to try playing it now at sixteen beats to the bar."