Smart, tense and undeniably challenging, but Alex Garland's directorial debut is foiled by underwritten roles, and a clichéd ending. Scott Gentry reviews "Ex Machina".

"Ex Machina" (15)
Directed by: Alex Garland.
Starring: Domhnall Gleeson, Oscar Isaac and Alicia Vikander.
Rated: '15' for containing strong language, bloody violence and sex references.
Running time: 108 minutes.
Released in UK cinemas from the 21st of January, 2015.

Alex Garland is undoubtedly one of Britain's most famed screenwriters. Having begun his winning streak with scripting duties on Danny Boyle's revolutionary horror "28 Days Later", back in 2001, Garland shot to fame with his distinctive brand of sci-fi/horror, and continued with stunning pieces such as "Sunshine" (2007). But here, the go-to-guy for unconventional approaches to sci-fi cinema, seems to have lost his touch, in an overlong and ultimately laborious addition to the artificial intelligence back-catalogue.

A young and talented technology geek, Caleb Smith (Domnhall Gleeson), works in the world's most powerful search engine company named BlueBook, successfully run by the multi-billionaire, Nathan Bateman (Oscar Issac). Upon winning first prize in a company competition, Caleb is invited to visit the house of his enigmatic and mysterious employer, revelling at the prize, which money can't buy. After arriving at the mountain-based estate however, Caleb soon realises that Nathan is nothing more than an (albeit intelligent) egotistical and self-obsessed drunk, with a needless/glamorous house maid and seemingly, far too much time on his hands. After toying with Caleb over drink-fuelled discussions, Nathan eventually (in a childish, and giddy manner) reveals to Caleb that the home is in fact a secret research facility, in which the world's first artificially intelligent being has been created. Its name is Ava. Immediately, Caleb bonds with the fully-working Ava (Alicia Vikander), but when required to take part in rigorous Turing tests (the examination to prove a machine's ability to exhibit intelligent behaviour, like a human being), trouble occurs in paradise, and Caleb is left questioning notions of an ethical nature...

In the past few years we've had far too many films regarding artificial intelligence, and frankly, it's becoming rather annoying. But, it's not to say that the idea of AI's aren't a tempting prospect. It's an idea which could ultimately change the course of history. Here however, it's not even helping to change cinema history. Unfortunately, Garland has set himself up to fail by entering into an already crowded house full of the same ideas, with no clear ambition or idea which would rival productions such as Spike Jonze's challenging romance, "Her". Here, we have a clearly intelligent piece of filmmaking, which has unfortunately arrived far too late.

The piece, however tedious, does include some perfectly acceptable performances. Gleeson and Issac are both on top form, with entertaining roles which may not challenge their style, but satisfy nonetheless, especially when the pair discuss "Ghostbusters" and dance to a positively groovy tune with the housemaid. But here lies the problem, for a film with such challenging ideals and dark subject matter, Garland constantly wrecks the atmosphere by adding comic effect into scenes which don't require it. Especially (SPOILERS, of sorts?) when a certain character reaches a ghastly demise, and in a perfectly laughable manner, dies relaying lines which are honestly hilarious, but shouldn't belong in a scene which purposefully attempts to evoke dark emotions. Although being the main subject of the film, Vikander (who portrays Ava) isn't given a lot to work with, and is required to state lines which occasionally engage interest, but her story arc fails to provide her with a decent role which would hold any concentrated form of vague interest. 

Without the great idea of AI's, we're left with a drama which features a love triangle of sorts, that doesn't exactly feel romantic, but rather sickening. By the time the third act comes into play, the film is found running on fumes, eventually concluding in a manner which is not only fairly obvious, but unimaginative. It seems that Garland himself has decided to play the project safe, and perhaps due to a constrictive budget, was forced to do so, and fails to explore the world outside of the lab. 

Apart from its practically thin plot (it is a January offering from Hollywood, don't forget), and virtually undemanding narrative, "Ex Machina" does benefit from some minor details. Rob Hardy's cinematography is faultless, and adds a wonderfully glossy look to the film, highlighting the features of Nathan's home beautifully, despite a relatively low budget. The film's score is also of merit, as Portishead’s Geoff Barrow and composer Ben Salisbury (composers of the unused soundtrack to 2012's "Dredd" -http://drokk.bandcamp.com/) have written a delightful soundtrack filled with some sinister tracks for the finale, which linger in the mind for some time after. 

Verdict

A piece which shows promise, but Alex Garland's directorial debut is foiled by constant comparisons to other genre pieces which are often larger in scope, and ideas which aren't ever fully developed. The film is held together by its more than capable cast, but ultimately there's nothing to entertain past the idea of artificial intelligence.

6 Stars out of 10

Written by Scott Gentry.

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

Trailer

Clip