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 (041715)
"Ex Machina" is an unsuspectingly bold achievement of the science-fiction realm,
minimalist in setting yet massive in creative ambition. The sensational
directorial debut of screenwriter Alex Garland ( "Never Let Me Go", “28 Days
Later”, "28
Weeks Later”, “Sunshine”), the film works on too many levels to count: as a
thinking-person's fable; an imagination-rich cautionary tale; a contemporary
"Frankenstein" for adult audiences; an intensely compelling four-character
chamber piece, and, most surprising of all, an unnerving thriller with an art
house spirit and the potential accessibility of a stimulating mainstream
entertainment. Assured and immersive, the story's evolving mysteries and
suggestive (but still tastily open-ended) revelations weave a hypnotic spell
difficult from which to break free—not that anyone would want to.
When 26-year-old computer programmer Caleb Smith (Domhnall Gleeson) wins a
company-wide
competition to spend a week at the high-tech home of its reclusive CEO, Nathan
Bateman (Oscar Isaac), it is a once-in-a-lifetime opportunity he wouldn't dream
of passing up. The circuitous living-quarters-cum-research-facility, located
among a secluded stretch of mountains he is transported to by helicopter, is
heavily protected, each room requiring a security badge and the proper
clearances to enter. Nathan is a brilliant, hard-drinking, decidedly eccentric
man who requires that Caleb sign a non-disclosure agreement before he reveals to
him the top-secret project on which he has been working. Reluctant to give up
access to his property and electronic devices, he is nevertheless curious enough
that he cannot help but acquiesce.
Nathan's creation, it turns out, is a fully functioning A.I. named Ava (Alicia
Vikander), a barrier-breaking technological wonder that he believes is the first
machine in existence to have a human-like consciousness. Caleb's job is to
interact with Ava and provide feedback on whether he believes Nathan's claims to
be true, and it isn't long before this awestruck visitor is drawn to the
synthetic being's gentle, alluring, inquisitive, unexpectedly sexual nature.
When the compound experiences a brief power outage during one of their sessions
together and Ava takes it as an opportunity to warn him that Nathan is not to be
trusted, it sets off a chain reaction of paranoia and a power struggle over
ethics that could change nothing less than the course of history.
"Ex Machina" rarely leaves the confines of Nathan's state-of-the-art residence,
but its meticulously constructed, antiseptically kept corridor of rooms gives
the film a hyper-modern, almost otherworldly atmosphere. Just as Caleb feels
like a stranger to this place, very much a guest in someone else's cryptic lair,
so does the viewer. Outstanding technical credits—Rob
Hardy's enveloping, richly toned cinematography; Mark Digby's (2013's "Rush")
claustrophobically serpentine production design, and Geoff Barrow and Ben
Salisbury's music score of mesmeric dissonance—add to the off-center mood as
Caleb is alternately blown away by Nathan's invention and increasingly
protective of it when he suspects Ava is just one in a long line of disposable
test subjects. Caleb is aware that Ava is a machine, but it appears to have
thoughts, feelings, yearnings and natural curiosities that force him to
reevaluate what it means to be alive, and human. What is less apparent is what
these characters' actual motives are, with Caleb empathizing with Ava's
hopeless, sheltered plight while becoming suspicious of Nathan's intentions. And
then there is Nathan's obedient, frequently nude Asian servant, Kyoko (Sonoya
Mizuno), whom he claims to keep around precisely because she doesn't know
English and won't ask questions.
Domhnall Gleeson (2013's "About Time") is a terrific protagonist, keenly
intelligent but with an identifiable everyman quality. His Caleb acts as the
eyes and ears of the audience, who willingly follow him without question and
mirror his emotions as he starts to deeply care for Ava and begins to plot a
means of escape. Oscar Isaac (2013's "Inside Llewyn Davis") continues his
revelatory climb as one of the most dynamic performers working today, able to
bridge the
gap between a leading man and a diverse character actor. Isaac plays Nathan very
close to the vest—does he mean Caleb harm? Is he hiding more nefarious plans? Or
is he simply a wealthy eccentric who happens to drink too much?—which only
serves to deepen the menacing allure and fascination surrounding him. The
performance many will be talking about after the fact, however, is Alicia
Vikander's (2015's "Seventh Son") breakthrough turn as Ava. Vikander's A.I. is
not entirely unlike the ones played by Haley Joel Osment and Jude Law in 2001's
"A.I.:
Artificial Intelligence." but her fluid body movements and subtly expressive
facial expressions and speech ensure that Ava is a true original. That one is
also never sure if Ava, like Nathan, can be trusted only adds to the complexity
of what Vikander has achieved.
"One day, the AIs are going to look back on us the same way we look at fossils,"
Nathan tells Caleb, his words all the more disturbing because they may
eventually, thousands or even as little as hundreds of years from now, prove to
be believably, eerily prophetic. As technology advances at an astonishing rate,
are scientists and robotics engineers setting into motion humanity's last gasp?
"Ex Machina" acknowledges this possibility with a provocative, forward-thinking
vision that writer-director Alex Garland is clearly thrilled to explore. As
unspoken conflicts of mistrust and manipulation boil over, the third act
culminates in a series of reveals and confrontations that are as blunt as cold
steel and as piercing as a sharpened butcher's knife. "Ex Machina" is a
singularly chilling cinematic stunner that coexists as a wild daydream and a
prescient glimpse into the future. It is one of the years best films.
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