The screenlife format, a subgenre born out of the found footage style, has carved out a unique niche in modern filmmaking. While it has often been dismissed as a gimmick, this storytelling method has produced several notable successes in the horror and thriller genres. However, Bloat, a new addition to the genre, struggles to make use of its potential, blending traditional horror tropes with an outdated use of technology that fails to deliver the tension and suspense that screenlife films are known for.
The film, directed by Pablo Absento, follows military AI operator Jack Reynolds (Ben McKenzie) as he navigates the supernatural horrors affecting his family. After the tragic stillbirth of their daughter Ava, Jack’s relationship with his wife, Hannah (Bojana Novakovic), and their two sons becomes strained. In an effort to bring them closer, Jack plans a family vacation to Japan, only for unforeseen circumstances to prevent his participation. Left behind, Hannah takes their sons, Steve (Malcolm Fuller) and Kyle (Sawyer Jones), on the trip, where a near-drowning incident triggers Kyle’s disturbing behavioral changes. As Jack investigates, he believes his son is being possessed by an ancient Japanese spirit.
While the plot has the makings of a chilling supernatural thriller, Bloat fails to fully capitalize on the screenlife format. Unlike Unfriended (2014), which subtly built tension through the characters’ digital interactions, Bloat rushes into supernatural scares and uses over-the-top glitchy imagery, such as distorted video feeds and pixelated images, to convey terror. These elements, instead of enhancing the horror, serve more as a distraction, undermining the story’s suspense.
One of the primary issues with Bloat is its pacing. A successful screenlife movie takes time to develop characters, establishing their emotions and relationships through their digital interactions. Unfortunately, Bloat doesn’t allow its characters to breathe, and instead speeds through key plot points. The grief Jack feels over his daughter’s death and his struggles with alcohol are barely explored, making his emotional journey feel underdeveloped. The terror ramps up too quickly, without the careful buildup that screenlife films often rely on to create a genuine sense of dread.
Furthermore, the film’s central performances fall flat. McKenzie, known for his role in The O.C., fails to bring the urgency and anxiety needed to anchor the horror. His portrayal of Jack, as a somewhat detached figure, doesn’t evoke the desperation needed for a film about a demonic possession. Novakovic’s portrayal of Hannah, while more grounded, still feels disconnected from the terror unfolding, as her character’s emotional journey shifts too drastically and without reason. The film also introduces Kane Kosugi as Ryan, Jack’s friend, who attempts to bring levity but instead detracts from the stakes of the story.
While Bloat has an intriguing premise rooted in folk horror and the eerie undercurrent of Japanese folklore, it ultimately mishandles the screenlife format, leaving its potential largely untapped. The film’s final moments, which attempt to provide a poignant conclusion, feel forced and out of place, leaving audiences with a sense of confusion rather than closure.
In the end, Bloat serves as a reminder that while screenlife films can be an innovative way to tell horror stories, the genre requires more than just technical gimmicks. It demands patience, subtlety, and a deeper understanding of how digital interactions can enhance storytelling. Unfortunately, Bloat falls short on all counts.
Bloat is set to hit theaters on March 7.
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