★★★★ / 👍
A gorgeous display of minimalist style, and minimal substance, in a film as limited as the week-long Turing test that is the basis for its plot.
I’m an antisocial nerd over-reliant on an inflated measure of my own intellect, who dabbles in non-specific contempt for the human race. The cold and distant aspects of Kubrick or Nolan films are frequently the only things I find tolerable about them. I loved this movie, and I find that disturbing, because it has very little to say.
One difficulty in stories about AI—particularly ones based around the notion of a Turing test—is the difficulty of constructing fictional people who seem like real, baseline human beings. Garland doesn’t do this (or try to). All of the characters in Ex Machina, be they human or android, are simulacra whose moving parts and emotional subroutines are conspicuous in their operation.
The most consistent theme in Ex Machina is not the wonder of intelligence in an artificial being, but rather the limits of sapience in Homo sapiens. If the subject of Ex Machina is a Turing test, the form of Ex Machina is a reverse Turing test, in which very talented actors spend two hours trying to confuse the audience as to whether their characters are actually as stupid as they seem, or merely pretending to be so. (That the film tends to the latter more than the former doesn’t necessarily make it less tedious to watch.)
This is a remarkably well-crafted film, and I sincerely respect that. But I don’t particularly want more films like it.