Bandersnatch,

succeeds in making the choices unobtrusive and in which the reaction time is suitably paced — meaning the viewer doesn’t have to wait another second before seeing the character perform the choice, especially if the choice is a critical one.

Late Shift, which was screened at the New York Film Festival and Raindance Film Festival (the audience voted for their choices through the smartphones, and the majority vote became the choice used), follows the story of Matt (Joe Sowerbutts), a night shift parking lot attendant who gets roped into a high-stakes heist in a London auction house.

Late Shift scores more points in “rewatchability” and complexity as the endings, and how you get to the endings, really vary depending on the most miniscule of choices made in several parts of the film — many gaming accounts on YouTube dedicated hours to creating video walkthroughs on how to get to all of the endings. It is a really good film, both as a suspense-heist film and an interactive one, though I do have misgivings about the film’s continuity issues.

I can only hope that, like Telltale Stories’ interactive video series Minecraft: Story Mode

(2015), Late Shift also makes it way to Netflix because it deserves to be experienced by a wider audience.

But what I do like about Bandersnatch is, with a streaming giant behind its back, it pushes forward the idea of interactive stories to break the monotony of linear and passive viewing for audiences.

(It became such a hit that flowcharts upon flowcharts from fans have appeared on the internet showing how choices affect the endings.)

Oh, and I also do like the Bandersnatch ending that’s reminiscent of Peter Weir’s

The Truman Show (1998) and because it also mirrors the joke endings from Konami’s Silent Hill horror game franchise.