In the not-so-distant future, where technology and artificial intelligence have made significant strides, we find ourselves in a world where privacy is paramount. Enter Kevin Spacey, who lends his silky, sulky voice to this intriguing low-budget British indie. As a disembodied voice, Spacey takes on the role of an implacable punisher, targeting those with sexual misdemeanors.
The film unfolds in a single location – a car. British Home Secretary Stella Simmons (played by Lauren Metcalfe) is having an affair with the Prime Minister. She agrees to drive his sleepy teen daughter home in a state-of-the-art driverless car. But things take a dark turn when the car veers off course, and Stella realizes she has lost control – both of the car and her life.
Spacey’s eerie detachment breathes life into the film. His voice, jeering and taunting, echoes through the car’s speakers. Sometimes, he even slips into a spoof cockney accent. Who is this mysterious tormentor, and what does he want?
The cat-and-mouse thriller unfolds as Stella desperately tries to regain control of the car. Spacey’s disembodied presence becomes her relentless adversary, pushing her to the brink. The tension builds, and the car hurtles toward an uncertain fate.
Unfortunately, Spacey’s silky voice can’t save the film entirely. The direction feels clunky, and other performances fall flat. Torpid line-readings from supporting characters dampen the suspense. Yet, Spacey’s sardonic delivery keeps us engaged.
We inhabit a future where political intrigue, affairs, and AI-driven cars collide. The British Prime Minister’s indiscreet affair with Stella Simmons sets the stage for a high-stakes drama. Spacey’s journey of uncancelling inches forward. His role as the voice of retribution adds another layer to his enigmatic career. While the film’s execution falters, Spacey’s presence remains captivating.
This isn’t Spacey’s first venture into creepy voice territory. In Duncan Jones’s sci-fi film “Moon” (2010), he voiced the HAL-ish spaceship computer. But Control keeps things simpler – a relentless voice in a car, pushing boundaries.
Control may find its niche audience, drawn to its oddity and Spacey’s performance. Perhaps it will gain cult status or inspire a remake. Regardless, Spacey’s comeback, even as a disembodied voice, is a step in an intriguing direction.
Email:neill@outloudculture.com
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