A British sci-fi thriller built around one blunt premise: what happens to a teenager's body and mind when a shattered smartphone ends up lodged in his skull.
What is iBoy about?
Tom is an ordinary London teenager until a home invasion goes violently wrong and leaves him in a coma. He wakes up changed. Shards of his phone never fully came out during surgery, and the fragments embedded near his brain have rewired him into something closer to a walking network node than a boy. He can access CCTV feeds, hijack phone signals, and manipulate electronics around him just by concentrating. Rather than treat the power as a gift, the film uses it as a blunt instrument: Tom turns his new abilities toward the men responsible for the attack that put him in hospital, tracking them through the same estate where he grew up. Maisie Williams plays the friend at the center of the assault, giving the revenge plot a personal stake instead of a generic villain-of-the-week structure. Rory Kinnear and Miranda Richardson round out a cast of authority figures and threats who underestimate a kid nobody expects to fight back.
About the cast
Bill Milner carries the film as Tom, playing the shift from anxious teenager to reluctant vigilante with a physicality that sells powers grounded almost entirely in gadgets rather than spectacle. Maisie Williams, fresh off her breakout years on prestige television, brings weight to a role that could have been a plot device in less careful hands. Rory Kinnear and Miranda Richardson supply the film's more seasoned faces, while Jordan Bolger and Charley Palmer Rothwell fill out the estate's cast of neighbors and antagonists.
Context & significance
iBoy arrived as part of a wave of low-budget, high-concept genre films built for a streaming-first release rather than a theatrical run, and its premise reflects that era's appetite for grounded, tech-adjacent superhero stories over caped ones. Director Adam Randall keeps the visual language close to street level: council estates, hoodies, and handheld cameras rather than glossy set pieces, which lets the film's central gimmick do most of the work. At ninety minutes it moves briskly through origin, escalation, and confrontation without padding.
Watching iBoy on Ktime
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