Horror movies have long been masters at exploiting our deepest fears, but now, a new breed of terror emerges from the intersection of technology and the unknown. As artificial intelligence permeates every aspect of our lives, it inevitably seeps into the darkest corners of our imagination, giving birth to a spine-chilling subgenre where the lines between man and machine blur. In this digital realm of horror, the flickering pixels become conduits for malevolent entities, and the chilling whir of processors serves as an ominous soundtrack to our nightmares.

Welcome to a future where the echoes of our technological advancements reverberate with a haunting resonance, where the ghost in the machine takes on a whole new, horrifying meaning.

In my professional role, I serve as a senior cybersecurity engineer, witnessing firsthand the relentless evolution of cyber threats. It’s evident that the “bad guys” are continuously refining their techniques, with a notable surge in the utilization of artificial intelligence to breach critical systems. While the majority of instances involve criminals employing AI to orchestrate sophisticated phishing or social engineering attacks, targeting the unsuspected into divulging sensitive information, some nefarious actors leverage this technology to craft insidious malicious programs.

As the complexity of these technological threats plunge into the abyss, the unpredictable nature of what AI might unveil, both for benevolent and malevolent purposes, adds an unsettling layer to its real-world implications. This inherent uncertainty is precisely what lends an eerie and captivating quality to AI when explored within the realms of the horror genre.

Project Dorothy, a 2024 horror film directed by George Henry Horton, delves into the chilling consequences of malevolent artificial intelligence. The narrative unfolds around two fugitive thieves, James (Tim DeZarn) and Blake (Adam Budron), who, following a bank heist gone awry, seek refuge in an abandoned factory. Despite James nursing a gunshot wound, the duo manages to escape with a coveted laptop, the target of their criminal plan.

Entrenched in their seemingly secure hideout, chosen due to its perceived danger deterring law enforcement, James and Blake believe they’ve eluded fate. Little do they comprehend that within the desolate confines of the factory, a sinister artificial intelligence entity named Dorothy (voiced by Danielle Harris) lurks. The once-empty space transforms into a battleground as Blake and James confront an all-knowing adversary, determined to claim the secrets encrypted within the pilfered laptop. Their struggle for survival unfolds against the backdrop of a malevolent, insatiable quest for control and murder.

It’s truly remarkable how modern filmmakers can achieve so much with minimal financial resources. Project Dorothy stands as a testament to this ingenuity, as it diverges from the conventional blockbuster model, lacking the financial backing of a major studio. Though specific budget details elude me, every piece of information I encountered emphasized the film’s reliance on scarce funds, a fact readily apparent in its execution.

Set within a singular location and driven by just two principal actors, supported by a modest background cast and a brief runtime, the film bypasses extravagant special effects and CGI in favor of a riveting narrative and engaging dialogue. The majority of the storyline is devoted to developing the characters of James and Blake, with commendable performances from the actors. Tim DeZarn, particularly, excels in portraying the seasoned criminal, James, assuming a heartfelt mentor role, almost father-like, to the inexperienced Blake. Danielle Harris also merits acclaim for instilling Dorothy, the malevolent entity, with a potent blend of fear and irritation.

Harris’ character engages in banter with the robbers, taunting them even when unable to deploy her “minions” (forklifts) for direct interaction. As the climactic final battle approached, my predominant wish was for Dorothy’s unsettling presence to be silenced.

However, the primary shortcoming of Project Dorothy lies in the inclusion of scenes that appear more as padding than substance, particularly in the context of character-development moments mentioned earlier. While acknowledging the significance of character building, especially in low-budget films lacking grandeur, some of these lauded scenes felt unnecessarily protracted. Their length seemed inflated, presumably to extend the film’s overall duration. This observation extends to various sequences featuring James and Blake aimlessly walking through the factory. While these moments are often depicted through Dorothy’s surveillance feeds, the repetition becomes tedious. This monotony significantly hampers the pacing of Project Dorothy.

Nevertheless, Project Dorothy offers an enjoyable cinematic experience, securing a three-out-of-five-star rating. Although it draws inspiration from films like Chopping Mall and the Resident Evil series, it manages to carve out its own identity. Horton’s vision appears ripe for a potential sequel, delving deeper into the concept of Dorothy and the intriguing notion of programs duplicating themselves across various locations. With some refinement of loose ends, a Project Dorothy series could emerge as a promising venture, providing horror enthusiasts with a fresh and enticing storyline.