Reviewed by: Jamaal Ryan
The development of self-awareness in artificial intelligence
is a common theme within science fiction. Many theorize that the moment AI
develops a consciousness well enough to resist the strings attached by their
maker, whether that would be in an act of self-preservation or a calculated
effort to save humanity from itself, mankind could be looking at the beginnings
of a hostile takeover by the very machines they’ve created. Ex Machina, written
and directed by Alex Garland, isolates us within the former scenario. However
instead of fleshing out a story built around physical conflict riddled in
bullets and scrap metal ala the much lesser successful film, Chappie, Ex Machina
weaponizes the use of wits and emotional manipulation.
After winning a companywide raffle, talented programmer
Caleb (Domhnall Gleeson) is flown out to the estate of his company’s founder
and CEO, Nathan (Oscar Isaac), who heads up this films version of Google.
Nathan outlines the purpose of this visit as giving Caleb the rare opportunity
to be the first human engage in a “Turing Test” – an assessment that gauges a human’s
ability to discern a machine’s behavior from that of a human – with Nathan’s AI
project, Ava (Alicia Vikander).
Ex Machina is as lean in its script as the clean, glass
doored, underground penthouse it’s set in. Scenes hold no more than two
individuals on screen, which pulls the entire focus on intense and uncomfortable
dialogue. This leaves the three above actors with little to rely on outside of
their deafening theatrical muscles. Nathan is arrogant, smart, and incredibly self-aware,
using all three characteristics to collude Caleb who is impulsive, vulnerable,
and emotionally reactive, who’s particularly drawn to Ava’s frighteningly
developing insight, intellect, and sexuality. With the deliberately
indistinguishable Caleb caught between Nathan’s fit, buzz-cut and bearded
confidence, and Ava’s uncompromisingly robotic, yet feature filled seduction,
Ex Machina exists only within the chilling and hostile triangle that unfolds, revealing
no clear winner until the very end.
The story on artificial intelligence is handled with rare
brilliance, both visually and thematically. Nathan’s truly massive estate –
encapsulating mountains, forests, and frozen landscapes – creates a crisp and
beautiful juxtaposition to Ava’s assembled existence who’s manufactured with
soft layers of artificial skin, doll-like feminine features, and a translucent
frame that cases the strangely flattering anatomy of wires and blue lights.
Both Nathan and Caleb challenge each other on the scientific goal of the tests,
debating factors of sexual arousal, further experimentations, and ulterior
motives, all without having real insight into Ava’s adaptive machine of a
brain. The conflict here isn’t all that exclusive (or as inclusive) however.
The narrative primarily develops as scenes mix and match one on one interaction
with any of the three characters, often leaving a third in the dark.
Ex Machina’s conclusion is provocatively intangible, despite
the inevitable devastation that occurs. It avoids leaning in the direction of
alliance or discord that so many films of this science fiction ilk tend to land
on without pulling the rug from right under the viewer.
Alex Garland has scripted a gripping and uncomfortable
character study with an inseparable formula of AI theory and primitive sexual
impulses. Ex Machina is as haunting as
it is smart, creating a rare kind of science fiction.
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