DUBAI: Some predict that advances in AI filmmaking will eventually lead to actors licensing their image and old performances for use in movies that they won’t — in reality — be acting in. The argument against that is that such movies will lack the human connection of actors in the same physical space reacting to each other’s deliveries and sparking that indefinable chemistry that marks the great films.
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That argument is deflated somewhat by Netflix’s thriller “The Woman in Cabin 10,” in which a starry cast, led by Keira Knightley and including Guy Pearce and Hannah Waddingham, deliver performances that, despite them presumably being in the same physical space, lack any notable chemistry or conviction.
Knightley plays Laura “Lo” Blacklock, an investigative reporter who works for The Guardian (shorthand for ethical, quality journalist or elitist liberal snowflake, depending where you fall on the Trump-o-meter), currently traumatized by having witnessed the murder of one of her sources. She needs to decompress, and an invitation to cover the maiden voyage of a luxury superyacht — owned by Norwegian billionaire Anne Bullmer and her husband Richard — seems like an ideal opportunity. Anne is dying of lukemia and the yacht will be taking a handful of other billionaires to her final fundraising gala. Oh, and the photographer on the trip is Lo’s ex-boyfriend, Ben.
