Much of The Signal involves director William Eubank cutting elliptically as Nic tries to piece together what happened and to save himself and Haley from their predicament. Where is NOMAD? Who are these people? And what’s this about an “EBE” – an “extraterrestrial biological entity”? Before we can quite figure out what happened, Nic is waking up in a weird, antiseptic facility presided over by a hazmat-suited Lawrence Fishburne (once again going full Morpheus on us), Jonah has vanished, and Haley is in a mysterious coma. “You guys should just stop provoking him,” Haley says. Anyway, the kids pinpoint NOMAD’s location to an abandoned cabin in Nevada filled with server racks. Meanwhile, Nic, who is now saddled with crutches due to MS, thinks back on the days when he could run freely through the woods, when he could stand before majestic, gently undulating forest streams, when he and the beautiful Haley were happy and in love and … wait, where was I? Right, the hacker. MIT students Nic (Brenton Thwaites) and Jonah (Beau Knapp) decide, while driving cross-country with Nic’s girlfriend, “CalTech turncoat” Haley (Olivia Cooke), to track down a mysterious hacker named NOMAD who has been tormenting them. Yet it’s not a complete wash and, given the circumstances, that feels like an accomplishment. You spend a lot of the movie confused, but the great big reveals of its finale don’t feel very shocking at all. The Signal somehow falls into both traps. There are two great risks to creating mind-fuck science-fiction: that nobody will understand you, and that the actual mind-fuck won’t add up to much.
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