She’s an android AI who appears to have some very conventional ideas about what it means to at least pretend to be female (these involve, for instance, wearing demure virginal-white dresses).
And what’s worse, I have a terrible suspicion that Garland thinks he has made a feminist film with a strong and complex female character simply because a man of each of these ridiculous stripes argues about what to do with her.Īva (Alicia Vikander: The Fifth Estate, Anna Karenina) isn’t actually female human person, of course. Now, there’s nothing interesting or fresh or even usefully true in such a cartoonish dichotomy, so that’s not great. A man is either chivalrous and kind, or a man is an evil monster.
Runemate bot review 2015 movie#
But it’s pretty inexcusable for a new science fiction movie to be beaten in the SF-concepts department by an old TV show.) There is one mildly interesting idea about search engines, but it comes and goes and is not essential to the story.Īnd it doesn’t matter, because this is, in fact, a story about how men treat women. (Filmed SF is always decades behind the literature. Which is good, because this movie doesn’t contain a single notion about AI or about how we meatbags might interact with one that Star Trek: The Next Generation didn’t examine in far more compelling ways almost 30 years ago. That’s when we realize this: For all that Ex Machina tells the tale of an Internet genius gazillionaire who brings in one of his underlings to apply a Turing test to the self-aware robot he’s built, this isn’t actually a story about artificial intelligence.
Runemate bot review 2015 serial#
I’m not, of course, going to spoil what this moment consists of, but suffice to say that it could have just as readily been slotted into a story about a serial killer.
It’s imagery that, I would be utterly unsurprised to learn, was something that popped into his head disconnected from anything else, imagery he deemed so cool, so you-guys-gotta-see-this!, that he set himself then and there to building a story around it. There’s a moment, Ex Machina’s big visual smack in the face, in which writer-director Alex Garland, probably unwittingly, reveals his hand.
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