Screamers

Director: Christian Duguay. Screenplay: Dan O’BannonMiguel Tejada-Flores. Starring: Peter Weller, Jennifer Rubin, Roy Dupuis, Andrew Lauer, Charles Powell. Canada, USA, 1995. IMDB: 6.4. Budget: $20 mln. Box office: $5.7 mln. My rating: 3.5/4. Post-apocalyptic old-school science fiction B-movie about androids, horror and nuclear wastelands.

– Well, you’re coming up in the world – you’ve learned how to kill
each other.
(Colonel Hendricksson about two androids fighting each other)

– Jefferson, you must be confusing me with someone who gives a shit.
(Colonel Hendricksson)

For a horror story set on a faraway planet, where almost nothing alive is left and killer robots keep on furrowing the ground in search of a new prey, “Screamers” is a very sentimental movie. Under a bloody and violent disguise one can easily feel that it’s also a story about alienation and loneliness. Then mix enough dark humour, abandoned wastelands on a faraway planet, robots with human-like disguise and extreme cynicism. Yes, it’s a sci-fi B-movie – exactly that type of B-movie that we sometimes need so much.

The story. 2078. Sirius 6b, once a prospering mining colony, is now some kind of an abandoned wasteland – a result of a long civil was between 2 fractions who couldn’t find agreement on how to proceed. One of them, Alliance, created AMS (Autonomous Mobile Swords) that are 20170223_193019so effective and hunting down their enemy fraction. These self-replicating machines are called screamers because of an incredibly high sound they produce during the attack. Few people are still left on this planet and try to find a way to escape from it. It seems that 2 fractions finally managed to reach some truce. But colonel Joseph Hendricksson (Peter Weller – “Robocop“, “Naked Lunch“, “Star Trek Into Darkness“) feels that more probably both sides have abandoned their armies, leaving them to slowly vanish here.

The visuals. The world here is full of rust and despair. It looks dead. Abandoned facilities. 20170223_193143Empty deserts covered with snow. Nothing moves here. Nothing happens. Almost everyone has left or died. Many got killed by each other, others by screamers. There are still some people who exist here… yes, “exist” would be the right word. Great, remarkable decorations (mostly Quebec industrial areas). Just seeing how lonesome people cross these hollow landscapes is impressive. Sentimental, but not cheesily melodramatic music and the dialogues – mostly highly cynical small talk – greatly underline their loneliness.

20170223_193547Pretty soon both sides realized that screamers learnt how to improve themselves, replicate and create various kind of disguises that look absolutely human, like a small boy with a teddy bear (type 3), the wounded soldier (type 4). We still don’t know though what type 2 looks like. It makes the atmosphere pretty tense as everybody suspect each other, finally that leads to shooting one of fellow soldiers. He repeatedly used same phrases over and over (it was thought that screamers’ vocabulary is very limited).

20170223_193348What I liked. The good thing is that “Screamers” never over-concentrates on something (that would made it a failure). It doesn’t try to develop complex concepts about human identity like “Blade Runner. It’s not a 100% horror but it has its tense moments that will make you nervous. It has enough plot twists and till the end you don’t know who is who, when even Hendricksson himself suspects he is a robot. It doesn’t rely too much on special effects – the CGI looks pretty dated here, but it looks like 20170223_193815an integral part of the movie. It has enough romantics and humour too. Simply put, “Screamers” does a little bit of everything without trying to be exceptional in it, and it does it so well, that it makes it versatile and remarkable – you just never get bored.

Peter Weller plays a cynical and experienced soldier who still 20170223_193123has some hope in getting out of this planet. Great and memorable role. As the story unveils, under the mask of a cynical soldier starts to appear a sentimental and lonely man. Speaking mostly with short rough one-liners, he nevertheless accepts to take the boy they found in the ruins (to find out later that it’s a disguised screamer), he begs Jessica to continue their trip because “you’re the only thing I have left”.

20170223_193331Other actors are really good as well. All of them have brisk and memorable characters. Some reviewers mentioned thst Andrew Lauer was a miscast (he plays a chatty sidekick), but I didn’t feel so. The music is surprisingly good (mostly orchestral, by Jerry Devilliers – I found out that he mostly just did some lesser known TV series and that’s all) and contributes really well to the overall atmosphere. I actually don’t like the overused orchestra soundtracks in the 80’s and early 90’s sci-fi, but here it’s perfect. Jennifer Rubin’s beauty (“A Nightmare on Elm Street 3: Dream Warriors“, “The Crush“) was a lovely addition to the desperate world, and Roy Dupuis (“Shake Hands With the Devil“, “The Barbarian Invasions“) was just fine as a cynical soldier.

The production and reception. The movie, directed by the Canadian director Christian Duguay (“Human Trafficking“, “The Art of War“) is loosely based on Philip K. Dick’s “Second Variety”, where the action took place on Earth and was more about the post-Cold War era. Dan O’Bannon, the sci-fi veteran (he wrote “Alien“, co-wrote Carpenter’s “Dark Star” and did one of main roles, co-wrote “Total Recall“) initially wrote the screenplay that was later reworked. The production was painful and it was a box office failure (roughly $20 million budget vs. $ 5 million box office), criticized20170223_193722 by almost everybody upon its release. Nevertheless, “Screamers” gained a cult status with time, regularly being part of various 90-s sci-fi tops. I can understand that. The movie didn’t look groundbreaking or innovative when it came out, nor it had big fast-paced action scenes. But they are not needed here.

Worth watching? Absolutely, if you like good old 80-s sci-fi like “Outland“, “Inquest of Pilot Pirx” or “The Abyss“. I wouldn’t really consider it a horror movie, but the atmosphere may get very creepy. “Screamers” has all the ingredients in the right place and doesn’t take itself too seriously, leaving enough space for gore, darkness, robots, fun and just a good human story.

Spectacularity: 3.5/4
Acting:  3.5/4
Directing: 3/4
Originality: 2/4
Final vote: 3.5/4

3.5/4

***

If you want to learn more about “Screamers“, Den of Geek did a brilliant lengthy article here. A sequel, “Screamers: The Hunting” was released in 2009 ( but it seems to be pretty bad, just recycling the first movie (with Lance Henriksen though).

 

Kill Command

fcd8861acdbf8bbb9d79dd7a098acbdfDirector: Steven Gomez. Starring:  Vanessa Kirby,  Thure Lindhardt, David Ajala. UK, 2016. Budget: $1.5 mln. IMDB: 5.7. My rating: 3/4.  Creepy sci-fi thriller about military guys and 1 cyborg vs huge rogue robots on a remote island.

– It’s like watching 1.5 hour long cut scene from some shitty video-game.
(ola_norsk)

– This is exactly what a B-movie should be like.
(InterArmaEnimSilentLeges)

– If you remember your feeling from watching the Predator for the first time – you will certainly enjoy Kill Command.
(Stasulos)

I didn’t have any kind of expectations from “Kill Command”, one more movie about the military guys vs the robots. Maybe that’s why I enjoyed it so much? Probably, but that would also diminish the movie’s quality.

Just look at this beautiful picture. It says it all. Those who still are not fully convinced, scroll below…there are more pictures.

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Do you smell death in the air? No?

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Well, now you do.

The plot. In the not so distant future, a military group is sent to an island for training. The purpose or type of training is unknown. They are accompanied by Mills (ice-cold Vanessa Kirby) – half-human, half-android, who has significant difficulties in gaining the trust of the others humans due to her ‘impure’ nature. As the unit deploys on the island, they unexpectedly lose any connection with the outer world. Soon the group encounters robotic creatures they did not expect.

The production. “Kill Command” is a debut by Steven Gomez (responsible for both directing and writing), who has built a career in visual effects. It has a budget of around $1.5 million (it was hard to find the precise info, but it’s about that), which is very low for a movie that includes massive robot fighting scenes. But it looks as great as $150 million movies. Visually, I enjoyed ”Kill Command” much more than “Passengers”. Only that is a great praise already. The location is outstanding. It’s an island with hills, deep forests and some abandoned facilities – a perfect place for a sci-fi scenario like here. The movie was shot entirely in the UK.

Kill-Command-Movie-Wallpapers-7

Of course, technically it is still one more movie that explores the idea of a group of people going somewhere remote where they encounter something scary and unknown. But somehow ”Kill Command” still manages to be an original movie. It leaves a good aftertaste. When you watch these kind of movies, it often happens that it’s actually fun to watch, but they quickly fade out of your memory and the impression worsens as time passes. Strangely, with “Kill Commando” a reverse effect happened. What makes it stand out?

Several things. It’s quiet slowly paced. You will not see a continuous sequence of extremely quick cuts that resemble more a video clip, than a movie (hi, Michael Bay!). It somehow reminded me of the sci-fi wave of the 80-s/90-s. Even the action scenes are not that fast. You have enough time to see everything in detail and I think, it was more typical of a good old sci-fi film of 20-30 ago, than some newer stuff. In one of the interviews, Gomez said he tried to show the robots in all the detail from close distance – and he succeeded.

Kill Command” is quite a minimal movie – remember, it’s set on a tiny remote island – but what you see has great design and lots of details, starting from abandoned facilities, uniforms, weapons and, of course, robots. Reminds me of Far Cry in a way (well, except for the robots, but that’s a mino-or detail). The other thing is the location set and it’s used to a great extent. I would even dare to say that I had a feeling – pardon – that some scenes come close to being almost meditative. Maybe I am wrong. But even remote feeling like that says a lot about the impression you can get from a movie. I still remember well one of the scenes – in the light of a sunset, the soldier is on the roof of an abandoned building, aiming with his rifle somewhere faraway, waiting for the enemy. His body posture is tense. Around him you see the see, the sunset, the forests. In a “normal” low budget robot movie, that scene would last half a second, here it lasted 3 or 4 and seemed like an eternity, but in a good way. And there are some scenes like that that here and there – it’s not something straightforward, but more of something you understand later.

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The main problem of the movie comes from here too. I don’t know though if it was Gomez’ intention to film in that way  (from trailer and posters, it seems no and probably that’s why some part of audience didn’t like it that much – they didn’t see that was expected compared to how the movie was promoted). That would be interesting to know and it’s a pity that the movie did not develop more in this direction. It looks like it can’t decide whether if wants to become an action movie or something slower and deeper. The acting is quiet good, but uneven. The characters could have been developed more. You could easily find other things to criticize. But should you?

The reception. The movie has a whopping 5.7 on IMDb – totally undeserved, but 67% on RT may render some justice. I guess most IMDb bad reviews come from guys from were expecting a fact-paced action robot movie, but ”Kill Command” is better than that. Most reviews over the web are quite positive too, check out here, here and also this amazing insight here.

Worth watching? Yes! Far from being perfect, it’s a beautifully shot and richly detailed warfare movie. Tense, minimal and with its own nerve. No useless philosophizing about what makes human a human or robot a robot bla bla bla because it’d ruin the movie. Just keep in mind that it’s just not an average fact-paced sci-fi flick with humans and robots, like the recent hypnotizingly beautiful but rather soulless “Ghost in the Shell” adaptation, nor it is an arthouse film. So if you are a fan of “Terminator“, “Predator” (which reboot is coming out in 2018!) or, maybe, “Far Cry”, definitely have a look.

3/4

Top 10 Soviet Science Fiction Movies

Here is my Top 10 Soviet sci-fi movies with a dozen of modern trailers I made specially for it while studying some video editing.

†1924-1988 selection.

Beautiful new ambient, shoegaze, dreampop, synthpop and techno soundtracks included.

 

 ***

1. ”Stalker”, 1979.

A cerebral timeless masterpiece by Andrei Tarkovsky, probably the most renowned and influential Soviet/Russian director. Loosely based on a story by important Soviet science fiction writers Strugatsky brothers (and seen by many as a prophecy for several upcoming catastrophes including Chernobyl), “Stalker” could be interpreted as a philosophical tale about destiny and choices. But there’s much more that that. It’s simply one of the most important cinema achievements ever, let alone science fiction. The story follows three men as they penetrate deeper into into a mysterious area called “The Zone”, each of them for a different purpose. A thinking sci-fi geek’s must-see. This movie is like a Universe, there are always new layers to discover. Read more here and here.

Music by Bowery Electric.

2. ”City Zero”, 1988.

Theatre of the absurd, a mysterious tragicomedy, a dark metaphor. The late 80-s, without doubt, were the most prolific period for the underground culture in Soviet Union, especially rock music but also cinema. ”City Zero” is the finest dark offspring of that epoch. The film is normally classified as sci-fi/mystery – but if you analyze every single scene separately, there’s nothing completely impossible. It’s the sum of all parts that is greater than the whole… The famous headcake scene actually happened once in Russia. But looking at the whole story makes you feel like slowly drowning in the swamp… It’s kind of ”Donnie Darko” goes on ”Mulholland Drive” in ”The Twilight Zone” atmosphere. My full review here. Watch online here.

Music by Auktyon (Аукцыон).

3. ”Dead Man’s Letters”, 1986.

Directed by K. Lopushansky, surely the most faithful of all Tarkovsky’s followers (he worked as assistant on ”Stalker” set), this film is a heavy and realistic portrayal of the end of the world. Endless piles of rusty metal, interminable yellow twilight, dirty radioactive puddles of mixed water and blood. And dead bodies. Dead bodies everywhere. Men, children, women. Everywhere. There is no hope here. It’s finished. There is no ”if”. The doomsday clock has moved. We are just witnessing the final decay of small group of survivors that will last several months, probably. There is not even a single hint about their survival. It’s a death rattle. Just a matter of time. My full review here. Watch online here.

Music by Ital Tek.

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Alien / goofs

I’ve always considered this film to be a perfect one (and still think so), just these 2 shots bother me each time I see them… The doll of Ash on the left should have been done way more carefully.

THX 1138

thx1138Director: George Lucas. Starring:Robert Duvall, Donald Pleasence, Maggie McOmie, Don Pedro Colley. Budget: $777,777. Box office: $2.4 mln. USA, 1971. IMDb: 6.8. My rating: 3/4. Disturbing art-house dystopia at its finest.

– Let us be thankful we have commerce. Buy more. Buy more now. Buy. And be happy.
(OMM, the digital Jesus)

– I think I’m dying.
– Could you be more specific?
(THX 1138’s confession to OMM, the digital Jesus)

– Everything will be all right; we are here to help you. Stay calm. We are not going to harm you. Everything will be all right.
(chrome police robots)

 

First part and more GIFs about the numbers in ”THX 1138” here.

”THX 1138” is an impressive, visionary and visually striking science fiction movie that I found fucking boring but absolutely loved at the same time. It may be a pain in the ass to watch because it’s so desperately monotonous and emotionally deadened – but that was the aim of the film too.

But once you get through it… your suffering will be rewarded. You may even want to rewatch it over time. It’s still one of the best dystopias around (and almost 50 years passed since its release).

Besides of the visuals, ”THX 1138” has an incredible amount of cultural references and just that may make it worth a watch. Steel-faced chrome police robots (lets call them, uhm, T100?), futuristic car chases (long before George Miller touched his camera), Nine Inch Nails Trent Reznor’s sampling source, dystopian underground drug-controlled society, infinite white prison with no walls (remember the Matrix endless gun warehouse scene?), early Star Wars designs, weird silent surveillance footage, erotic hologram dance, tape-recorded Jesus… A long and extensive analysis could be done on this movie.

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Discovering the depths of tape-recorded digital religion.

It’s inevitable to mention George Lucas’ persona when discussing “THX-1138”. The man was known for his little love in directing the movies, that’s why after doing this, “American Graffiti” (a coming-of-age cult film which I haven’t seen, but 7.5 IMDb and 95% RT may actually mean it’s worth something!) and the first “Star Wars” movie he stepped out of the director’s seat for 22 years, only to direct the dubious “Star Wars” prequels, which for the most part are not considered as good as the original trilogy. Anyway. I’m not a huge fan of Star Wars, although I’ve watched them multiple times and enjoyed it.

In short, “THX 1138” is everything that “Star Wars” is not. It is was the art-house face of George Lucas. Ultra slow, depressive and without even a hint of being funny. But its influence on the visuals of the latter is significant. Many of design solutions, like dominating sterile colours contrasted with black and white uniforms, holograms and other futuristic elements.

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This is not your average Interceptor.

What’s wrong with the The Director’s Cut. Oh, these freaking DC… It was released in 2004 and sadly it confirms that – with the exception of barely few scenes – Lucas lost the understanding of his own movie. He used the same approach as in Star Wars prequels with too much CGI out of place, thus many scenes were needlessly modified with new graphics, the corridors were extended (why, George? Why do we need extended corridors?) and extra space and colours added. Here‘s the full comparison and additional info here too. Several GIFs below (this may look fine out of context though):

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Copy-pasted humans and extended corridors of the infamous Director’s Cut.

Few words about the acting. Robert Duvall (born in 1931) is an interesting guy. He reminds me of Harry Dean Stanton (born in 1926), an incredibly talented American actor, who has made about 100 movies since 1956, including such titles as ”Alien”, ”Repo Man”, three David Lynch’s movies, ”Escape From New York”, ”Paris, Texas” and a literally lots of other stuff, yet the man never became a big star, staying in the shade of his colleagues.

So what has Stanton to do with Duvall? Well, both are those type of actors that we all have probably seen dozens of times (”MASH”, ”Deep Impact”, ”The Godfather 1/2”, ”Falling Down”) but struggle to recognize. So while Duvall certainly got more notoriety over the decades and received some important awards, his fate is somewhat similar compared to the Hollywood’s major stars and he is often overlooked. In ”THX 1138”, the man creates a wonderful and powerful performance, that ranges from emotional overload and despair to escapism, protest and silent consent. A very versatile role indeed.

Donald Pleasence (Carpenter’s ”Halloween”, Polanski’s ”Cul-de-sac”) was also wonderful as a psychotic and neurotic dweller of this huge underground world hospital. His characters was more one-sided than Duvall’s and that was a good contrast.

Maggie McOmie’s role as LUH felt a little bit underdeveloped given that it was her character that gave THX 1138 (the person, not the film!) a major input… She did not pursue an acting career after finishing ”THX 1138”.

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Worth watching? ”THX 1138” may seem overly slow and artsy at a glance, but nevertheless it’s a visually striking and original dystopia with various elements to be found in many forthcoming science fiction movies of all kinds. Wonderful performances from Robert Duvall and Donald Pleasence, gorgeously sterile visuals, story’s depth and a well-developed deadened underground world prove that there were times when George Lucas was as a talented and original filmmaker. 

Watch also: dystopia is a good genre for experimenting and many filmmakers used that to create something unorthodox, like amazing ”A Boy and His Dog”, poetic ”Fahrenheit 451” or absurd Soviet masterpieces”Kin-Dza-Dza!” and ”City Zero”.

3/4

Natural City / Blade Runner rip-off

naturaal cityDirector: Min Byeong-cheon. Starring: Yoo Ji-tae, Lee Jae-eun, Seo Lin. South Korea, 2003. IMDb: 5.8. My rating: 0.5/4. ”Blade Runner” rip off.

If somebody ever creates a list of ”Blade Runner” rip-offs, please put ”Natural City” on the first place.

We all know that ”Blade Runner” and another obscure movie by R. Scott did had a long-lasting effect on cinema, cyberpunk and science fiction.

We all know what is the difference between a homage and a rip-off.

”Natural City” was probably intended as a faithful homage – even the poster’s line said ”The Blade Runner era finishes and the Natural City myth starts” – but unfortunately ended up being a bad rip-off.

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THX 1138 / faceless numbers

”The death of one man is a tragedy, the death of millions is a statistic.”

 

 

 

 

1t is n0t exactly clear, whether it was Erich Maria Remarque, the gre4t German writer of war, sadness and l0st generation, or Joseph Stalin, the blo0dy Soviet mastermind, to pr0nounce these painful w0rds, although surely b0th had the right f0r it. E4ch fr0m the opp0site p0int of view.

”THX 1138” is a perfect illustration for what it means to be a N° in an ill, mechanical, drug-oppressed society that is even more deadened than “Fahrenheit 451”, “1984” or “Metropolis”. Heck, people even had names there.

Here… everybody is just a number. Numbers are perfectly intertwined in the stunningly sterile visuals of the story, crawling here and there, mixed with muffled camera surveillance footage and faceless chrome police robots that keep on repeating “we are here to help you”.

We are here to help you.” A recurring nightmare motif now.

The exploration of THX 1138 continues here.

 

Turbo Kid

turbo_kid.jpgDirector: François Simard, Anouk Whissell, and Yoann-Karl Whissell. Starring: Laurence Leboeuf, Munro Chambers, Michael Ironside, Aaron Jeffery, Edwin Wright. Canada (Quebec), New Zealand, 2015. Budget: $60,000. IMDb: 6.7. My rating: 3/4. An eccentric childish post-apocalyptic sci-fi with lots of gore.

– I thought all robots were evil.
– Depends on the model.
(The Kid and Apple are getting to know each other)

– You want to see something cool?
– I always want to see something cool.
(a conversation between The Kid and Apple)

“Turbo Kid” is  a faithful homage to the 80-s, a naïve love story occasionally slipping into a gory bloody post-apocalyptic trash. Sounds dorky? Well, it looks dorky too, and is entertaining as hell from the first frame.

The film doesn’t hesitate to borrow everywhere it can, but you don’t blame kids at the nearby playground for copying chases and fighting they saw on the TV screen, do you? Especially if they have a super-blaster-glove and BMX bikes.

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The Machine

f04c6c2af663d16125acc53ff0ea71e9.jpgDirector: James W. Caradog. Starring: Caity Lotz, Toby Stephens, Denis Lawson, Pooneh Hajimohammadi, Sam Hazeldine. UK, 2013. Budget: $1 million. Box office: $322,000 DVD sales. IMDb: 6.1. My rating: 3.5/4. Noir cyberpunk tale about a thin line that separates humans and A. I.

– How do I know that you’re alive and not just a clever imitation of life?
(one of the main scientists)

”The Machine” beats the recent ”Ghost in the Shell” adaptation with an incredible ease. If it were done in the 80-s, it would have been a cult movie. But it’s a 2013 directional debut by the Welsh director James W. Caradog, so let’s just be humble and categorize it as… almost excellent.

I have often been harsh with independent sci-fi about A. I. There hasn’t been much of it in last decade – I mean, the good one that makes think and feel, like ”Automata’ or ”Ex Machina”. Most of the others failed, taking the easy path of violence like ”A. I. against humans” or puzzles like “guess-who-is-robot-who-is-human”, which I find it incredibly boring.

So I prepared for the worst after watching the trailer of ”The Machine”, but found out something completely different. And it seems not only me. I have no idea why it was promoted (according to the trailer and poster) as an action-based sci-fi about A. I. ”The Machine” unexpectedly turns out to be dense, smart and sensible science fiction, and in the last place it’s about gore and rampage.

The plot. Near future. The West is in state of a Cold War with China. British scientists are working on creating android killing machines that will help in case of a real war that seems inevitable. Implants and artificial limbs for humans are being developed. Ava, a young scientist, joins Vincent in the hidden research facility in the attempt to develop the first self-aware artificial intellect. But they are on the edge of something bigger.

What I liked. The Machine” feels like a spiritual sibling of ”Blade Runner”, but consciously done in a harsher way. What surprised me most is that often it felt really scary – and not because of some cheap thrills. It’s because of how well it shows a thin line between humans and androids. Fear of the unknown. Few examples…

  • The guards that work as security in this research facility are for the most part wounded or partially disabled war veterans. They were given artificial limbs to substitute missing body parts or special implants that help to recover whatever sense they miss (in case their brain, sight, hearing etc were damaged), but it has certain side effects. Pretty soon they lose the ability to speak – nobody knows why, but a brilliant explanation is given later in the movie – and it seems that they start to have more of the machine than of human.
  • As the Machine (the main character) is ”born”, she behaves almost as a normal human, with small subtle differences that feel incredibly weird. There is a brilliant episode when the Machine is thinking that she is smiling to Vincent, but in fact her ”smile” looks like a sinister grin because she doesn’t know how to smile – but she doesn’t realize it, saying that she smiles it in  the same way as humans. The Machine doesn’t see the difference, so she heads to the mirror in order to learn how to smile. It looks creepy. This scene alone feels incredibly powerful.

Plus there are many episodes that feel really tense as they show broken, distorted human emotions, as if seen through a broken glass. Very creative and thoughtful approach. ”The Machine” shares a lot with the recent adaptation of ”Ghost in the Shell”, but it explores things in a deeper and more original way. Shame on you, Hollywood.

The acting is much better that one could expect from a $1 million budget directional debut of this kind – and not only from main protagonists Caity Lotz (awesome double role here), Toby Stephens and Denis Lawson, but from incredible background characters as well. Iranian-born Pooneh Hajimohammadi and Sam Hazeldine did especially a great job, portraying people with mutilated and warped senses and emotions, avoiding any kind of cliches that are typical for the genre. Kaity Lotz was very good (nothing to do with awful ”400 Days“), taking the role more seriously than portraying just a newly-created A. I. She managed to show a very wide array of emotions, from childish first steps and mistakes to delusions and learning how to survive in a cruel human world.

The movie is beautiful visually as well. It borrows a lot from “Blade Runner” visual style, and thanks God it does. It never becomes the end in itself though, blending the visuals with the narrative and using them as an integral part of the story. Everything feels organic here. With a tiny $1 million budget the Welsh director James W. Caradog and his team did really a good job. The movie never looks cheap. The synth-based soundtrack gives the warm 80-s feel as well.

What I didn’t like. There are certain moments that feel a little bit like a cliche (mostly the villain part that felt strained), but compared to the overall creativity and thoughtfulness put into the movie, let’s just close eyes to it. Finally, you cannot want everything from such a good debut like here.

Worth watching? Yes. ”The Machine” unexpectedly turned out to be one of the most original and well-crafted movies about A. I. of the last decade. It may not be as delicate and refined as ”Ex Machina” – and we don’t need another ”Ex Machina” anyway, don’t we? – but feels fresh, original and creative. Good old dense cyberpunk with an intense texture and often scary feel. A must-see for anyone who’s into thinking sci-fi.

Watch also: ”Automata”, ”Ex Machina”.

3.5/4