Ex Machina

Ex Machina is not a film for everyone. This genre is usually associated with the expectation of a grand spectacle with action elements, whereas this film is an intimate conversation piece, an emotionally charged love triangle, and a clever cat-and-mouse game. Spielberg's A.I. Artificial Intelligence is touching, 2001: A Space Odyssey is monumental, I, Robot is action-packed, and Her is melancholic, but Ex Machina is primarily clever. True, the resolution lacks originality and cleverness, but let's face it - if it had those, the film would probably lose its connection with a significant portion of its audience. A film should not be smarter than its viewer, as otherwise, it risks commercial failure. Ex Machina may not be as expensive and epic as American sci-fi films usually are, but for a less affluent European production, it certainly was a big treat. While the sentiment of the acclaimed film Her completely missed the mark for me, I was completely captivated by Ex Machina. It is heading in the right direction, asking exactly the questions that I consider important, and it works on an emotional level as well. Playing god is not worth it, and Ex Machina strongly warns that artificial intelligence is not just a challenge with enormous possibilities, but also (and perhaps especially) an ethical problem and a great risk. Overall impression: 95%. (07/10/2015)

Or how alcohol and programming could destroy human kind. The fantastic Alicia Vikander in the role of an innocent robot seduces the viewer who then willingly goes along with her game, gazing lovingly into her artificial eyes to the end. Garland works with an amazingly attractive concept and manages to deliver an exceedingly satisfying experience for both sexes. Gleeson is cast brilliantly as the classic nerdy programmer, but the jaunty Isaac (not Asimov) easily outplays him. A philosophical construction genius, drunk as a skunk, copulating till he’s blind, while still thinking straight. + lots of shots of bare bosoms. An unassuming gem amongst robot movies. Catching music. Man is saved by his good deeds. (31/05/2015)

A gender chess game for four players. Eight years after its premiere, and in the context of Garland’s two subsequent films, Ex Machina has proven to be not only a shining directorial debut, but also a curse. Based on this film, Garland, who served as both director and screenwriter, has been inappropriately pigeonholed in the sci-fi and fantasy genre. As in his later films, however, the genre is merely a stylistic framework not for reflections grounded in science fiction and fantasy, but for interpersonal and relationship contemplations. Garland is fascinated by artificial intelligence as a field that mirrors gender issues, particularly in the sense of consciously and unconsciously stylised performance, as well as the observation, adoption and use of roles or codes that underlie most human interactions, even though they are artificial and unnatural at their core, or rather they are not inherent to our unique personalities. At the same time, Ex Machina examines the objectification of women and the extent to which we perceive the real personality on the other side of interpersonal interactions between members of the opposite sexes or, conversely, whether we merely project gender codes and patterns onto the other’s personality. It’s actually not surprising then that, on the one hand, the film is enthusiastically embraced by geeks who see themselves as Nathan, even if they are rather Caleb, while on the other hand, some paradoxically accuse it of sexism and objectification based on an interpretation that is equally limited and blind in principle. (28/07/2022)

A minimalist, visually attuned film, punctuated by LEDs, a polished eco-house in pristine nature, ambient atmosphere and ethereal music. As long as there's philosophising over AI vs human and small but clearly outlined and fairly consistent emotions are brought to the surface, everything is perfectly fine. It's a shame about the stilted finale that doesn’t deliver anything extra, but Garland is good. (22/09/2015)

As a matter of fact, the premise is pretty simple and builds on the psychology of two characters and one android. It is nice that films like this one get to be filmed these days, but the more of them there is, the more critical I am towards them and here everything stands and falls by the premise, which is not bad, but it is a base for a rather small-scale film. At least the ending made everything pretty clear. (05/06/2015)