Writer Alex Garland's directorial debut Ex Machina has finally arrived here after weeks of waiting, and thankfully it's a triumph of intelligent sci-fi in spite of its faults.
When Caleb (Domhnall Gleeson) wins a contest to work with Nathan (Oscar Isaac), it's revealed that Nathan has been working on a scientific breakthrough: artificial intelligence, in the form of Ava, played by Alicia Vikander and a lot of special effects. Caleb has won the chance to interact with it in a Turing test, but soon he discovers things aren't quite as they seem. For the first two acts of Ex Machina, this premise remains, and there are a lot of intriguing ideas explored within that time not only in regards to AI, but also about the nature of humanity. In fact, often the AI dimension of the film is merely a smokescreen for a smart blend of philosophical and scientific ideas about the human mind in particular. As Nathan discusses how Ava works, more often than not he also talks about how human beings work, and it makes for some fascinating scenes.
Somewhat less fascinating is the persistent religious imagery. One of the first things said by Caleb when the AI is revealed to him is that it's "the stuff of gods," and this idea reoccurs occasionally throughout the film. As far as the conversation on synthetic life goes, this idea is perhaps the oldest one in the book, and Ex Machina has little new to add. There's also some biblical imagery in the names and in a couple scenes, but this doesn't add a whole lot to the movie. Between the biblical imagery and the exploration of humanity is the fact that Ava is very much created in the image of humans, and in her we see humanity's faults reflected. More specifically, she's created in the image of a human woman, and the applied gender is very much relevant to the film, and includes a mild but persistent sexual dimension. This prominently affects Caleb, and ultimately defines his relationship with Ava.
More important is how Ava's life is lived entirely in a research cell, constantly observed and not thinking she'll ever be let free. The ethics of keeping an artificial intelligence contained become complicated when the factor of proving its intelligence proves challenging and problematic, which is a uniquely interesting take on the tired topic of the ethics of creating life. This is remarked upon in varying ways, boiling over in the third act. Suffice it to say that things get quite heated. However, said third act is perhaps the weakest part of the film, including scenes which are just silly. For a relatively sedate movie-particularly in the second act, where some of the weirder elements of the movie's beginning have worn off-this is a jarring tonal shift that, while still engaging for the most part, also includes some sharp turns and stuff straight out of a slasher flick that seems almost out-of-place in as low-key a film as this.
While Ava appears to be the obvious test subject, Caleb is examined nearly as much, becoming a prime conduit for the film's discussion of the human mind as well as a figure for Ava to bounce off of. Ava appears to find Caleb as interesting as Caleb does her, and this further deepens their already intricate dynamic. Caleb is used as Ava's primary means to learn about people beyond herself and Nathan, and this makes for an important element of the film. In general, Caleb is more or less the nicest character in the film, initially communicating in awkward ways that seem forced but growing more natural as he gets used to his new situation. That latter statement is not so much a criticism of Gleeson's performance or the script (both of which are excellent) but an acknowledgement of Caleb's character arc. As said, things turn out to be not quite as he seems, and obviously he doesn't react well-but revealing more would be spoilers.
Nathan, meanwhile, is much more laid back for someone of his prestige and intellect, contrasting with Caleb's relatively uptight attitude. He sorta embodies the techbro archetype, and perhaps the more negative connotations of that term can be seen in his treatment of his feminine robots. The film doesn't spell out what to think of him, however. He doesn't have the intimate relationship with Ava that Caleb has, but what he thinks of her remains intentionally ambiguous. Indeed, a lot of Ex Machina revels in ambiguity, and a lot is left for the audience to figure out, up to and including the ending. This is a movie that brings up questions, many of which it doesn't answer, and as a consequence it's one that will stick with you for some time as you contemplate its mysteries.
Of note are the visual effects, which are surprisingly polished despite the film's low budget. The technology looks fantastic, especially when backed with an explanation of their purpose, and Ava herself finds a comfortable ledge near the mouth of the uncanny valley. In addition, the cinematography is absolutely brilliant, framing characters precisely and boasting a superb colour palette-a cold green tint for most of the scenes, and a harsh red coating to specific scenes of heightened tension. The result is one of the most aesthetically sleek and visually focused films of the year so far. The soundtrack is also solid, but the sound mixing often results in it and the louder sound effects reaching bludgeoning levels of volume. This isn't too difficult to adjust to, but on occasion it results in characters being drowned out-but only in a situation where such would be realistic.
Ex Machina is a smart, remarkable film with a fantastic visual style and plenty of ideas, all wrapped in a tense, sleek thriller package. Its themes may take the form of disparate questions more often than a coherent statement, but that's hardly a point against it. The only fault is the silliness of its third act, and even that remains enthralling. After waiting weeks to see this, I can wholeheartedly say it was worth it.
9/10
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