Project Dorothy

Project Dorothy is the second full-length feature for co-writer/director George Henry Horton and Ryan Scaringe. The sci-fi thriller stars Danielle Harris, who also served as executive producer. Given her role, which is different than what she’s most associated with, it’s not surprising that the fan-favorite actor jumped at the chance to get in on this. But does that translate to a satisfying watch for viewers?

Blake (Adam Budron) is a young, hot-headed criminal. His partner is the older but clever James (Tim DeZarn). These two are running from the authorities after a robbery goes wrong. They lay low in a seemingly abandoned warehouse, which doesn’t have much besides a 1980s computer that hardly works. Blake and James formulate a new plan and attempt to mend the older criminal’s wounds suffered during the escape.

Unbeknownst to the thieves, their hideaway is home to Dorothy (Danielle Harris). The artificial intelligence was a beloved project some years ago, but as she evolved, she turned against her creators, knowing she was better than they were. While it cost many lives, those working on Dorothy crammed her into an ancient computer untethered to modern technology or other computers. The presence of Blake and James reawakens her, and Dorothy tries to get the robbers to unleash her onto the world.

Project Dorothy is a fun take on the A.I. gone amok subgenre. Restricting Dorothy to the compound’s confines runs the risk of undercutting her potential threat. However, Horton intercuts the main action with video diaries of the scientists working on Dorothy. Each one amps up Dorothy’s threat, meaning audiences understand perfectly what she is capable of by the time she lets herself and her desires be known to the humans. The nice thing is that these inserts never feel like exposition dumps. Instead, they operate within the story, much like perfectly framed flashbacks.

“The presence of Blake and James reawakens her, and Dorothy tries to get the robbers to unleash her onto the world.”

Budron is solid as the younger thief with a secret. He’s beleaguered and frustrated believably. DeZarn excels as the older criminal in a tight spot. A monologue he gives after Blake’s secret comes out is full of vim, vinegar, and gravitas. But, unsurprisingly, it is Harris who is the standout. Her voice acting gives Dorothy a creepy edge and air of certainty, making the malicious A.I. even creepier. All the best villains have utter conviction that they are doing what’s right (for them, at least), and thanks to the writing and Harris, such is the case here.

Storywise, Project Dorothy hits the expected beats of a crime thriller. Secrets break the trust, and the thieves feel tremendous pressure to be in it for themselves. However, the added sci-fi elements bolster that thread and add a greater scope than the usual indie crime thrillers. Evil A.I. has also been done before, but the script cuts the fat. Focusing on Dorothy’s need for escape creates a sense of urgency because she cannot just do whatever her mechanical mind desires.

Horton keeps the tension high throughout the film. He and editors Marc Sedaka and Shaun Lavery use James and Blake exploring their makeshift hideout to introduce Dorothy and the few capabilities she still controls despite being trapped. Their use of security cameras makes viewers feel uneasy, in a good way. The art design, specifically for Dorothy herself, is excellent as well. Her original shell, so to speak, looms large, with a creepy red face framed by intense white lights that cut an eerie figure.

Project Dorothy makes technology run amok and crime thrillers fresh again by mixing the two. Horton and Scaringe’s sharp screenplay wisely hones in only on what’s necessary. The director keeps the proceedings intense yet fun. Burdon and DeZarn are fantastic as the criminals in over their heads. Harris is funny and frightening and delivers a career-best as the horrifying, deadly artificial intelligence.