We live in a time where we’re surrounded by screens and cameras. It’s no wonder then that they become the focus of films themselves, such as 2018’s Profile, that all took place on a laptop.

It’s director, Timur Bekmambetov, clearly was fascinated with the material, so much so that he wanted to explore it further, but this time adding the topical element of AI also into the mix, with this sci-fi thriller.

Finding himself in a virtual court of law is Chris Raven (Chris Pratt). He finds himself on trial, by a legal system completely run by AI, with an AI judge acting as the sole form of justice. It’s a system he supported, being an LA homicide detective, but now finds himself on the wrong side of the law, being accused of murdering his wife.

The chair he sits in will also be his execution chair, so if he doesn’t manage to supply evidence within the next 90 minutes, and change the ‘mind’ of AI Judge Maddox (Rebecca Ferguson), the switch will be flicked, and Chris will be fried for his sins.

It’s an interesting role for Pratt, who although was first noticed for his comedic talents, starring in TVs Parks and Recreation, he’s gone on to forge an impressive career as an action star. The thing is, he spends nearly the entire time in this film in a chair, in a one room.

The director, with whom Pratt appeared in his 2008 flick Wanted, fills the film and screen with multiple feeds from phones and cameras, as Chris attempts to prove his innocence. And for the most part it works well, playing out like an entire film based on the scenes of Tom Cruise flicking different screens up in 2002’a Minority Report.

To break up the screen heavy imagery, he interacts with Ferguson as the AI judge; her programming must be on the fritz however, as her American accent is far from believable, which diminishes any faith you may have in her character’s law knowledge. And the longer the film continues, the more cringey their relationship becomes, with her almost becoming an updated Max Headroom of the law.

Bekmambetov does well maintaining a sense of tension throughout though, it’s just a shame the plot fizzles out towards the end, becoming ultra cheesy – and we’re talking fondue cheesy here.

Still, it has a pleasing pace, shot mostly in the real time of 90 minutes, and is mildly entertaining to the point you will probably only second screen it occasionally throughout, but that’s only to be expected, sadly, in this digital age, and kind of what it deserves.