Starring: Domhnall Gleeson, Oscar Isaac, Alicia Vikander, Sonoya Mizuno
Distributor: Universal Pictures
Runtime: 108 mins. Reviewed in May 2015
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A strong screenplay bristling with solid sci-fi ideas, an impressive cast and robust design all add up to make acclaimed screenwriter Alex Garland’s directorial debut an excellent addition to the subgenre of AI robotics films.
Programmer Caleb (Domhnall Gleeson) wins a special lottery held at his work, the search engine giant Bluebook. His prize: a week spent at the secluded mountain home of Bluebook’s genius founder Nathan (Oscar Isaac). Upon his arrival, Nathan comes clean about his true motives – he has been developing a robot displaying Artificial Intelligence, and wants Caleb to conduct a Turing test to see if his creation is indistinguishable from a human.
Caleb begins a series of daily sessions with the AI, Ava (Alicia Vikander), monitored by Nathan via CCTV. He is dazzled by her technology, moving from awe to fascination then familiarity. He debriefs with Nathan after each of the conversations, with Nathan more interested in Caleb’s emotional reactions than logical analysis. However, just when Caleb begins noticing Nathan’s erratic behaviour, a series of power failures allow Ava to speak candidly and unobserved, and what she tells him paints her creation in a far more sinister light.
The screenplay is an extension of a classic sci-fi scenario which usually occupies no more 10 minutes onscreen in other films. Here it is elegantly folded back in on itself, brewed with paranoia and plot twists, turning a cinematic game of chess between man and machine into a three-hander when Nathan’s intentions are illuminated. There are undertones of sexual politics, and this dimension unlocks more primal questions of survival and human instinct. Garland’s ability as a science-fiction scribe were never in doubt after ’28 Days Later’ and ‘Dredd’, but here they are certifiably impressive.
Domhnall Gleeson and Oscar Isaac, soon to be seen together again in ‘Star Wars Episode VII’, are young(ish) actors with bright futures. As Caleb, Gleeson is introspective and vulnerable, a gentle soul repeatedly manipulated by those around him – there is something very mature about his performance and his trusting innocence. Isaac oozes a threatening charisma as Nathan, often seen raging at a punching bag before playing the friendly ally. He absorbs Caleb at first, and engineers a dependence on validation between them, and in one unexpected but unforgettable scene, Isaac demonstrates his dancing chops too. Finally, Alicia Vikander is in form as Ava – cool and blank, the revelation of deeper tiers to her character are a powerful slow burn.
The pulsing, digital score from Geoff Barrow and Ben Salisbury creates an uneasy yet crisp soundscape to match the action. The production design from Mark Digby treads lightly between sturdy yet hypermodern in a way that only the super wealthy could ever afford, and the robotic elements of Ava are themselves beautiful to behold. The lensing from Rob Hardy is also meticulously planned, and makes great use of the Nordic locations surrounding Nathan’s home.
Thought-provoking and attention grabbing, ‘Ex Machina’ is an intelligent film which takes pride in asking the big questions. It wraps ruminations on the modern era with great performances and arresting style, and the result is a success.
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