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thedullwoodexperiment

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Tag Archives: Artificial intelligence

Marjorie Prime (2017)

09 Monday Oct 2017

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Artificial intelligence, Drama, Geena Davis, Humour, Jon Hamm, Lois Smith, Memory, Michael Almereyda, Review, Tim Robbins

D: Michael Almereyda / 99m

Cast: Jon Hamm, Lois Smith, Geena Davis, Tim Robbins, Stephanie Andujar, Hannah Gross

How much do you trust your memories? Or rather, how much can you trust your memories? And where do they come from? Are they exclusively made up of your own recollections, or are they a combination of what you can remember and the recollections of others? And can they ever be really regarded as true memories, an accurate representation of something that happened in the past? These are just some of the questions that Marjorie Prime asks as it ponders the nature of memory, its provenance, and its importance in our lives.

Michael Almereyda’s latest movie is a challenging examination of how we remember things, and why. The why is perhaps more important than the how, but it’s how our memories shape our character and our personalities, and help us connect our past and present lives that seems to be more important. But if memory can be elusive, if it can be confusing, or contrary, or unreliable, then how can we know if a memory carries the weight that it should do? How can it retain the meaning it relies on to be an accurate memory? Almereyda’s answer – adapted from the Pulitzer Prize-nominated play by Jordan Harrison – is that, ultimately, we can’t be sure of anything related to memory because there are just too many variables. And many of those variables are the memories of other people.

The movie begins with Marjorie (Smith) having a conversation with a younger facsimile of her late husband, Walter (Hamm) (Walter is a computer programme, an example of artificial intelligence used as memory therapy). Together they probe various memories and attitudes towards memory that are largely to do with Marjorie’s attempts at building a coherent narrative out of her past. Walter is a computer-driven replica of Marjorie’s husband at the time of their engagement. He already knows a lot about Marjorie and the man he represents, but his knowledge is far from complete. In order to further his knowledge, and his usefulness to Marjorie – whose own memory is under threat from the early onset of Alzheimer’s – he discusses their shared past and allows her to correct him whenever he gets something wrong. Walter at first believes that they were watching My Best Friend’s Wedding (1997) when he proposed to her, but Marjorie is eqaully sure that it was Casablanca (1942), or at least that Michael Curtiz’s perennial classic seems more likely. Marjorie’s memory of that event is eluding her, so she creates a memory that sounds like it could be true, and once it’s accepted by the programme acting as Walter, then it passes into memory, and into truth.

And then there’s the input from Marjorie’s daughter, Tess (Davis), and her husband, Jon (Robbins). Both talk to Walter and both express their own feelings and views on events that happened to Marjorie during her life, and they don’t confine themselves to moments that they have direct knowledge or recollection of. Walter accepts what they tell him without verification or any kind of fact-checking being carried out. And when he relays their recollections to Marjorie – like him – she accepts these as having really happened. But how can such memories truly be “real” when they’re an amalgam of various sources?  With the frailty of the human mind being explored in this way, Almereyda shows us how unreliable our memories really are, and how our need to provide context for them can often mean we overlook any contentious issues that may arise from remembering them. The more we remember, Almereyda seems to be saying, the more we actually forget.

By showing the pitfalls of allowing future technology to “guide” us through the labyrinth of our reminiscences, Marjorie Prime highlights just how memory and truth can be ephemeral and an unreliable witness to our own experiences. Tess refers to the way in which we remember the emotion of an experience rather than the fact of it, and how this informs the details of that experience. From this we can understand that feelings and emotions are often more important than the facts, and can help us to derive a better appreciation or understanding of what we’re trying to remember. But these impressions can be just as subjective or erroneous as the memory itself, and as the movie progresses, and focuses more and more on Tess and Jon’s relationship and their own recollections, Almereyda uses the shift in perspective to show how relative memory really is. And there are further narrative shifts that provide even more examples of how memory can collude with us in providing the kind of recollections that help us make sense of our world and the world around us (and especially, other people). Layer upon layer upon layer, and soon the source can no longer be recognised. But is that a good thing or a bad thing?

Sensibly, Almereyda doesn’t provide the viewer with any conclusions, merely more and more questions, some of which can be answered within the narrative itself, and others that remain a mystery, fleeting notions of recognition that may or may not be reliable. The movie regards these questions as components in a kind of mental jigsaw puzzle, and in trying to piece them together, the characters all behave as though their own memories are more credible than others. Even Marjorie, whose moments of lucid behaviour grow fewer and further apart, believes what she remembers, and when she discusses with Walter their shared history, there are moments where she is creating rather than looking back. The same can be said for Tess and Jon, who want to help Marjorie retain her memory for as long as possible, but who also create incidents and details out of a misguided sense of being supportive. As in so many areas of life, lies become truth, and the boundaries between the two become irrevocably blurred, no matter how good the original intention.

Marjorie Prime is a small movie about big ideas, but important ones nevertheless, and the dialogue is smart, funny and precise in its statements and observations. The cast all give measured, thoughtful performances, with Smith (reprising her role in the original stage production) offering a particularly sprightly portrayal of Marjorie that is both sympathetic and endearing. Against this, Hamm has the more challenging role as Walter, a synthetic approximation of a person who has no life experience except that which is given to him by others. As the sometimes feuding Tess and Jon, Davis and Robbins give expression to the rituals that they go through in order to provide certainty for their own memories, and then Marjorie’s as well, but without seeing the problems inherent in doing this. All four actors are mesmerising, especially Davis, who plays a character who’s increasingly conflicted over the benefits of (re-)constructed memories, and who is stricken by memories of her own that are unwanted.

Viewers may find the opening exchange between Marjorie and Walter a little slow going, and the introduction of several minor characters later on may make the movie feel a little fragmented, but otherwise this is intelligent, thought-provoking stuff that isn’t afraid to tackle big ideas head on. It has a wintry, melancholy feel to it, highlighted by the starkly beautiful cinematography of Sean Price Williams, and a deftly supportive, and unobtrusive score by Mica Levi that provides an effective counterpoint to the emotional turmoil experienced by the characters. But it’s Almereyda’s confident, assured direction that remains the movie’s most impressive element, and proof – if it were needed – that he is one of the most distinctive and talented voices working in movies today.

Rating: 9/10 – an award winner at this year’s Sundance Film Festival, few movies made at the moment have the rigorousness or the attention to detail that infuses Marjorie Prime and which make it a movie to admire and to lose oneself in; if you’re a fan of cinema as a reflection of real life and all its flaws and imperfections, then this is a movie that will reward you over and over again.

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Monthly Roundup – May 2015

31 Sunday May 2015

Posted by dullwood68 in Movies

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Tags

Antonio Banderas, Art heist, Artificial intelligence, Ballard Berkeley, Bat Masterson, Berlin, Boston, Bullying, Burger Beard, Chappie, Christopher Plummer, Clancy Brown, Comet, Conrad Phillips, Crime, Dave Franco, Dead body, Drama, Emmy Rossum, Eric Stonestreet, Father/son relationship, Frank R. Strayer, Gay bar, George Pastell, Glory holes, Hugh Jackman, Impact, Irene Ware, James Marsden, Joel McCrea, John Miljan, John Travolta, Joseph M. Newman, Julie Adams, Justin Long, Karl Urban, Ken Scott, Krabby Patty formula, Matthias Schoenaerts, Monthly roundup, Murder at Glen Athol, Murder mystery, Neill Blomkamp, Peter Maxwell, Philip Martin, Plankton, Review, Romance, Sam Esmail, Sharlto Copley, Sienna Miller, SpongeBob Squarepants, Swarf, The Duke, The Forger, The Gunfight at Dodge City, The Loft, The Spongebob Movie: Sponge Out of Water, Thriller, Tom Denny, Tom Wilkinson, Tye Sheridan, Unfinished Business, Vince Vaughn, Wentworth Miller, Western

There’s a phrase that everyone will be familiar with: “Too many [insert item here], too little time”. When it comes to the number of movies that I watch in any given month, that phrase is apt in relation to the ones that get reviewed here on thedullwoodexperiment. I would love to have the time to post reviews of all the movies I see, but it’s just not practical; and besides which, some movies just don’t merit the attention (Annabelle (2014), for instance). Sometimes it’s a case of choosing one movie over another, sometimes Life gets in the way of blogging and a movie falls by the wayside. To combat this, and to give these “other” movies their due, I’ve decided to present, at the end of each month, a brief “review” of all the other movies I’ve seen. There won’t be any synopsis, or proper full-length analysis, just the title, director, running time, cast, and then the traditional two sentence ratings summation. So, let’s see which movies didn’t quite make the cut in May 2015.

The Forger (2014) / D: Philip Martin / 96m

Cast: John Travolta, Christopher Plummer, Tye Sheridan, Abigail Spencer, Anson Mount, Marcus Thomas, Jennifer Ehle, Travis Aaron Wade

Rating: 5/10 – Travolta’s art forger comes out of prison to spend time with his dying son (Sheridan) and pull off an audacious robbery; a derivative, occasionally unappealing crime drama that tries to do something different with its dying child angle, The Forger is nevertheless a movie whose “one last heist” scenario has been done to death elsewhere, and with far better results.

Forger, The - scene

The Gunfight at Dodge City (1959) / D: Joseph M. Newman / 81m

Cast: Joel McCrea, Julie Adams, John McIntire, Nancy Gates, Richard Anderson, James Westerfield, Walter Coy, Don Haggerty, Wright King, Harry Lauter

Rating: 6/10 – Western legend Bat Masterson (McCrea) tackles corruption supported by Haggerty’s devious sheriff in Dodge City and faces romantic problems as well from minister’s daughter Adams and saloon owner Gates; a middling, mildly diverting Western, The Gunfight at Dodge City benefits from McCrea’s solid, no-nonsense performance and Newman’s underrated abilities behind the camera.

Gunfight at Dodge City, The - scene

Comet (2014) / D: Sam Esmail / 91m

Cast: Justin Long, Emmy Rossum

Rating: 7/10 – Long and Rossum are the soulmates whose on-again-off-again relationship is examined over the course of six years; with the narrative continually fractured and reassembled, Comet is replete with the kind of “serious” romantic musings that sound alternately pretentious and profound, but the two leads have a definite chemistry and this helps immensely in making the movie as enjoyable as it (largely) is.

Comet - scene

Murder at Glen Athol (1936) / D: Frank R. Strayer / 67m

Cast: John Miljan, Irene Ware, Iris Adrian, Noel Madison, Oscar Apfel, Barry Norton, Harry Holman, Betty Blythe, James P. Burtis

Rating: 5/10 – two murders and a dying confession confuse matters for a detective (Miljan) who’s just trying to take a vacation – next door to where the murders have taken place; packed full of seemingly endless exposition and no shortage of suspects, Murder at Glen Athol is a sprightly murder mystery that packs a lot in but not always to its best advantage.

Murder at Glen Athol

The SpongeBob Movie: Sponge Out of Water (2015) / D: Paul Tibbitt / 92m

Cast: Antonio Banderas, Tom Kenny, Clancy Brown, Bill Fagerbakke, Rodger Bumpass, Mr. Lawrence, Carolyn Lawrence

Rating: 7/10 – when the formula for Krabby Patty is stolen by the notorious Burger Beard (Banderas), SpongeBob (Kenny) is forced to team up with Plankton (Mr. Lawrence) to get it back… and venture above the surface; freewheeling fun with the denizens of Bikini Bottom that features lots of gags and the usual bright visuals, but takes an awfully long time in getting to the “sponge out of water” part.

SpongeBob Movie, The

Chappie (2015) / D: Neill Blomkamp / 120m

Cast: Sharlto Copley, Dev Patel, Hugh Jackman, Ninja, Yo-Landi Visser, Jose Pablo Cantillo, Sigourney Weaver, Brandon Auret, Johnny Selema

Rating: 6/10 – with a robot police force firmly established in Johannesburg, the introduction of artificial intelligence leads to one robot, named Chappie, learning what it’s like to be human; disappointing outing from Blomkamp that never quite gels or seems sure of what it’s trying to do or say, but does feature an excellent performance from Copley.

Chappie

Impact (1963) / D: Peter Maxwell / 61m

Cast: Conrad Phillips, George Pastell, Ballard Berkeley, Linda Marlowe, Richard Klee, Anita West, John Rees

Rating: 5/10 – when newspaper reporter Jack Moir (Phillips) is framed for robbery by arch-nemesis “The Duke” (Pastell), he swears to get even when he gets out of jail; a low-key crime drama that seems busier than it is and which gets bogged down in the mechanics of Moir’s revenge plot, Impact does allow for a welcome appearance by Berkeley aka Fawlty Towers‘ Major, and an above average performance by Pastell.

Impact

The Loft (2014) / D: Erik Van Looy / 103m

Cast: Karl Urban, James Marsden, Wentworth Miller, Eric Stonestreet, Matthias Schoenaerts, Isabel Lucas, Rachael Taylor, Rhona Mitra, Valerie Cruz, Kali Rocha, Elaine Cassidy, Margarita Levieva, Kristin Lehman, Robert Wisdom

Rating: 6/10 – the discovery of a woman’s dead body in the loft apartment shared by five married men for their secret liaisons prompts them to suspect each other of the crime; alternately gripping and implausible, The Loft is a modern day cautionary tale that loses credibility with its solution then recovers with a great twist, but still has the air of a thriller that its writer never quite got to grips with.

Loft, The

Unfinished Business (2015) / D: Ken Scott / 91m

Cast: Vince Vaughn, Tom Wilkinson, Dave Franco, Sienna Miller, Nick Frost, James Marsden, June Diane Raphael, Britton Sear, Ella Anderson, Uwe Ochsenknecht

Rating: 5/10 – Swarf salesman Dan Trunkman (Vaughn) has to overcome all sorts of obstacles to land the contract that will save his fledgling company from going under, including a visit to a Berlin gay bar; a bit of a strange fish, Unfinished Business suffers from being two separate movies joined at the hip: one a raucous comedy, the other a thoughtful study of bullying, but together they don’t make for a cohesive whole, and it’s yet another movie where Vaughn coasts along on former glories.

Unfinished Business

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Ex Machina (2015)

30 Friday Jan 2015

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Alex Garland, Alicia Vikander, Artificial intelligence, Domhnall Gleeson, Drama, Oscar Isaac, Review, Robots, Sci-fi, The Turing Test, Thriller

Ex Machina

D: Alex Garland / 108m

Cast: Domhnall Gleeson, Alicia Vikander, Oscar Isaac, Sonoya Mizuno

Caleb (Gleeson) is a computer coder who works for a large corporation owned by Nathan (Isaac). He wins a company raffle that involves spending a week at Nathan’s home, which is located in the midst of a vast countryside estate. On arrival he is given a key pass by an automated door system, and finds Nathan inside working out. Nathan soon reveals that he has been working on an experiment and that Caleb is there to conduct the Turing test on a robot with artificial intelligence called Ava (Vikander). Caleb’s job is to determine whether or not Ava could pass for human.

That night Caleb discovers that the TV in his room is actually a monitor that allows him to view Ava in her room. There is a power failure and Caleb is unable, temporarily, to leave his room; when he does he finds Nathan has been drinking and not in the best frame of mind. The next morning, Caleb is awakened by a Japanese girl called Kyoko (Mizuno); she doesn’t speak English, a benefit for Nathan as he can speak freely about his work. Caleb spends time with Ava and as they begin to get to know each other it becomes clear she is flirting with him. During another power failure Ava warns Caleb not to trust Nathan, and that he has been lying to him. As Ava begins to make herself more attractive to Caleb, he begins to wonder if Nathan has made this part of her programming all along.

Nathan lets Caleb see his laboratory, where he made Ava and mapped out her brain function. He insists Ava’s responses must be genuine, and reminds Caleb that if they are then the results of the Turing test must be positive. Later, Nathan gets completely drunk and when Caleb takes him to his room, he spies some cupboards and what looks like an “observation” room. When Caleb asks what will happen if Ava fails the test, Nathan is blunt: she will be updated and her memory will be erased. Caleb is upset by this prospect, and when Nathan gets drunk a second time, Caleb uses Nathan’s key pass to enter the observation room. There he sees footage that shows Nathan has been building robots like Ava for some time. He also looks in the cupboards and finds the discarded robots hanging up like old suits. When Caleb has his next meeting with Ava he tells her he has a plan for both of them to escape, and asks for her help. She agrees, and the next night they put the plan into operation.

Ex Machina - scene

Working from an original script, writer/director Garland has fashioned an intriguing sci-fi thriller that asks the question, can an artificial being truly possess human qualities, particularly real emotions. In asking that question, Ex Machina quickly becomes a guessing game for the audience, or as an old advert used to put it: is it live or is it Memorex? The answer, despite some wrong-footing and a few twists and turns in the narrative, is no, but with a caveat: there’s no answer to the further question of how Ava comes to fake the emotions she does display.

It’s unfortunate for what is otherwise a skilfully constructed and intelligent science fiction drama that when we first meet Ava she’s as self-assured and poised as she is at the movie’s end. This leaves the audience feeling that she’s been playing Caleb all along, and that the whole notion of the Turing test is irrelevant; if Nathan is as brilliant as he seems to be, he’d know already how far her development has taken her. And why go to the trouble of getting Caleb to visit him (the raffle is rigged) when it’s also clear that as clinical trials go, the parameters are so loose? In the end it boils down to who is the most manipulative – Nathan or Ava.

This conundrum aside, Garland shows a keen appreciation for his subject matter, creating a robot concept in Ava that makes physical as well as an aesthetic sense, and which allows the viewer to be reminded that she is, ultimately, a construct, not real and not able to function in the same way as humans, and even if latex skin is applied where and when necessary. This keeps the audience at a distance from her, while making Caleb all the more curious about the possibilities should she pass the Turing test. It’s a neat balancing act, and one that Garland keeps up throughout, even if he’s forced by his own script to step down from it by the expected denouement.

The look and feel of the movie is very Seventies, the austere, below level laboratory complex a maze of plain walls and functional furniture. Only Nathan’s own personal living quarters look and feel like part of the “real” world. In the end, the coldness of the laboratory area reflects Ava’s personality, and at the same time acts as a catalyst for her and Caleb’s escape – in such drab surroundings and being so confined, is it any wonder she wants to leave?

The motivations of all three main characters remain constant throughout, with Caleb’s naive, white knight demeanour expertly exploited by both Ava and Nathan, while creator and created share an antipathy toward each other that borders on hatred (on Ava’s part) and disdain (on Nathan’s part). All three actors give excellent performances, with Vikander warranting particular merit for the fine line she treads as Ava, making her both remote and alluring at the same time. Gleeson handles a role that could have been completely vanilla in comparison, but his pale features generate a mass of conflicting feelings and thoughts throughout. Isaac is the blunt force object of the trio, his stocky, powerful frame proving as muscular as his mind. As with Ava it’s a shame that Nathan operates at the same level for the duration of the movie, but it’s a compelling performance nevertheless.

Ex Machina - scene2

Garland proves to be a confident, accomplished director, gauging the performances with aplomb, and staging each scene with an economy of style and movement that greatly enhances the somewhat stoic pace and increasing tension. He’s aided greatly by cinematographer Rob Hardy and production designer Mark Digby, creating a futuristic environment for the science fiction aspects along side the wider marvels of the outside world Ava is so keen to see. There is the occasional narrative stumble – at one point, Caleb becomes convinced he’s like Ava and takes a slightly extreme approach to finding out one way or the other; Ava’s need to recharge her batteries would seem to preclude a proper escape – but on the whole, the script avoids the usual pitfalls such material engenders and has enough sense not to push things too far in terms of what Ava can do. That she is recognisably human by the movie’s end (at least to look at) is the movie’s ultimate triumph, reminding us that how we look on the outside is not as important as how we feel on the inside.

Rating: 8/10 – a sci-fi drama fused with metaphysical elements, Ex Machina is the first time in ages where science fiction themes have been treated with respect and intelligence; still, it’s not for everyone due to its pace and lack of perceived action, but on an emotional level it’s definitely punching above its weight.

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Transcendence (2014)

21 Monday Apr 2014

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Artificial intelligence, Internet, Johnny Depp, Morgan Freeman, Nano technology, Paul Bettany, Rebecca Hall, Review, RIFT, Sci-fi, Thriller, Wally Pfister

Transcendence

D: Wally Pfister / 119m

Cast: Johnny Depp, Rebecca Hall, Paul Bettany, Morgan Freeman, Cillian Murphy, Kate Mara, Cole Hauser, Clifton Collins Jr, Cory Hardrict, Falk Hentschel, Josh Stewart, Lukas Haas, Xander Berkeley

Those of you with a good memory will recall Johnny Depp’s last sci-fi outing, the distinctly flat and underwhelming The Astronaut’s Wife (1999).  Amongst the movies in Depp’s filmography it’s a rare misstep… until now.

Here, Depp plays Dr Will Caster, a scientist investigating the possibilities surrounding artificial intelligence (AI).  He is supported by, and works with, his wife, Evelyn (Hall), and from the wider scientific community, Max Waters (Bettany) and Joseph Tagger (Freeman).  When he is shot leaving a symposium by a member (Haas) of a radical anti-AI movement, RIFT, Will receives what appears to be a non-fatal wound.  Later, he learns the bullet was coated with polonium and he has only a matter of weeks to live.

Appropriating the work of a fellow scientist, Dr Thomas Casey (Berkeley), Evelyn sets up a secret laboratory where she intends to digitise Will’s mind and connect it with a computer system, thus allowing his “consciousness” to live on after his physical death.  She’s aided by Max who has reservations about the plan; when it succeeds, and one of Will’s first requests is to be connected to the internet, Max becomes afraid of the potential danger in Will having access to every computer on the planet.  He tries to pull the plug but Evelyn stops him and forces him to leave.  Max is then kidnapped by RIFT, and their leader, Bree (Mara), decides to keep him captive until they can stop Will’s consciousness from spreading.  They arrive at the laboratory too late to stop Will connecting to the internet, and too late to stop Evelyn from escaping.

Meanwhile, Tagger is helping FBI agent Buchanan (Murphy) track down the members of RIFT.  When Will manipulates the FBI’s computer system in order to help them, Tagger also becomes worried about the possible consequences of Will’s access.  As Evelyn, under Will’s instruction, starts to oversee the building of a brand new facility in the desert town of Brightwood, RIFT inexplicably hold back from trying to sabotage it, and the FBI sit on their hands as well.  Two years later, Will has moved on to using nano-technology in his work and when a worker is badly injured, takes the opportunity to use his medical capabilities to “improve” the worker’s physical condition, even going so far as to install software in the man’s head that links him to Will.  As more and more people undergo this “corrective surgery”, RIFT and the FBI both become afraid that Will is creating an army, and decide to take steps to put an end to his new existence.  The only way they can do it?  By using a virus created by Max that should stop Will by shutting down the internet…completely.

Transcendence - scene

Hopefully that (actually quite) brief synopsis should alert the potential viewer that Transcendence has a lot going on, and not all of it either clever or logical.  At the movie’s beginning, Will is a bit like an absent-minded professor, and has no interest in trying to change the world through the appliance of new technologies; that’s Evelyn’s aim.  As his metamorphosis develops and his “power” increases, he begins to do just that, using nano-technology to heal the sick and heal the planet.  All good, right?  Well yes, and therein lies one of the movie’s major problems: it’s ostensibly a thriller, and outside of the involvement of RIFT, so far the thriller elements have been sorely lacking (it’s also meant to be a romantic drama, and a cautionary tale, and a bio-horror movie as well).  Will’s adaptation of people becomes the trigger for a last quarter increase in action and spectacle that, while predictable, is unnecessary and forced (hell, it’s so forced, the FBI and RIFT practically team up to put a stop to Will’s unwanted apotheosis).

There’s also the timescale, that “two years later” mentioned before where everyone outside of Will and Evelyn sit around waiting for things to reach a point where they have to intervene, whereas before, prevention was the order of the day, both legally and illegally.  It’s also absurd to think that Max would be held captive for all this time without anyone trying to find him, but this turns out to be the case.  And with the size of the facility being built at Brightwood it’s unreasonable to think that the government or homeland security or the NSA (or someone) wouldn’t come around for a look-see at some point, but they don’t.  And it’s equally implausible that Will, even with all the access to information that he has, can create and master so many new technological advances from scratch, but he does.

As science fiction, Transcendence is woollier than most and depends on its human element to move the story forward but even there the story stumbles.  Will and Evelyn are supposed to be devoted to each other, and before Will’s death that’s evident.  But when he “transcends” he becomes more attentive and tries hard to make up for his lack of a physical presence; however, Evelyn is unhappy with this and shows her unhappiness in such a way that even Will should notice but he doesn’t.  Even when she begins to have doubts about what he’s doing he still doesn’t notice – so much for having advanced intelligence!  This, of course, leads into the main theme of the movie: can an artificially created intelligence be self aware?  (The answer, very obviously, is no.)  The movie dangles this supposed conundrum at the audience every now and again as if it bestows some depth on proceedings, but it’s a hollow, nonsensical question which, unsurprisingly, is resolved in an awkward, unsatisfactory manner.

The cast mostly go through the motions.  Depp is off his game by a long stretch, and as AI-Will is too subdued to make much of an impression, either as the saviour of the world, or its potential destroyer.  Hall’s character is irritating and the actress never quite overcomes this limitation; she also seems unsure of how Evelyn should behave from one scene to the next.  Bettany, as the movie’s voice of reason is sidelined too much by his incarceration by RIFT, and early on, plays the concerned friend with so much humility you half expect him to start wringing his hands at the prospective awfulness of what’s going to happen.  Freeman does his by-now standard wise old man routine, while Murphy has to cope with being a bystander to pretty much everything.  And Mara gives such a blunt performance she never changes her facial expression once throughout the entire movie.

Jack Paglen’s script mixes cod-science with emotional drama to only slight effect, and as filmed, has too many stretches where the movie stops dead in its tracks – which is odd, as the movie is decently paced and only occasionally strays towards boring.  The scenes between AI-Will and Evelyn quickly become repetitive, as do those featuring Tagger and Buchanan.  In the director’s chair, veteran cinematographer Pfister (making his directorial debut), has obviously kept a close eye on DoP Jess Hall, and the movie is often beautifully lensed, particularly its desert location.  He’s less confident when it comes to the cast, hence the lacklustre performances, and the script hasn’t helped him either.  There’s also an annoying score courtesy of Mychael Danna, packed with predictable cues and motifs.

Rating: 5/10 – somehow, Transcendence holds the attention throughout, even if it’s just to see how much sillier it can get; with another sci-fi misstep under his belt, let’s see if it’s another fifteen years before Depp makes another venture into the genre.

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Jordan and Eddie (The Movie Guys)

Australian movie blog - like Margaret and David, just a little younger

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