“I used to think it was death and taxes you couldn’t avoid, but it’s actually death and shit”
Every now and then I see a movie that leaves me unable to focus on anything else for a couple of days.
Ex Machina was my first ever cinema experience without company, in an otherwise packed cinema in New York City, and it left an indelible impression on me.
The key reason why and the great strength of this film is that is takes a relatively simple premise that isn’t at all new in cinema – man creates artificial intelligence and tests the validity of it – and takes it to unexpected heights.
Alex Garland ‘s screenplay takes turns that can be predicted, but when the characters sit down and launch into one of several conversations Ex Machina takes on a toughtful and gripping feel.
Varying through topics such as our universal trust in technology, nature versus nurture, men as Gods and natural sexual desire, Ex Machina opens up questions that have been asked for as long as language.
Though there are a lot of words exchanged, the film does an excellent job of building tension and building towards a thrilling finish thanks to the claustraphobic nature of 80% of the film being set in one house and a throbbing electronic score from Geoff Barrow and Ben Salisbury.
Garland (who also directs) takes care in keeping his camera still and cold as the protagonist Caleb (Domhnall Gleeson) attempts to adjust to the unnervingly calm and sterile house of entrepreneur and inventor Nathan (Oscar Isaac).
Caleb comes to the isolated house after winning a competition to spend a week with Nathan, the man who basically created the Google of this world, in hopes of picking his brain and hanging out with his idol.
Obviously, all is not as it seems when Nathan reveals that he has created what he believes to be artificial intelligence and wants Caleb to be the human aspect in a Turing test.
That’s when Caleb is introduced to Ava (Alicia Vikander), the beautiful robot that leads Caleb to question human nature and his place in it.
Vikander steals the show once again and when she shares screen time with Isaac it is almost as if two supernovas are colliding.
Ex Machina could be the movie we look back on as the perfect combination of three genuine stars of their generation and a writer/director as good as any in his own generation.
If you missed it, I have a new rating style. Read up on it here.
Directing/cinematography
As mentioned, a key feature in the look of Ex Machina is the hemmed in house Caleb is introduced to.
Devoid of humanity, the narrow hallways and artificial light is perfectly captured by Garland and cinematographer Rob Hardy, allowing tension to build as the walls close in on Caleb.
The contrasting final scene feels more memorable and worthwhile thanks to the build up of darkness and electricity throughout the rest of the film.
1.6/2
Screenplay
As mentioned previously, the direction Garland takes this film isn’t exactly full of surprises, but the execution of a meticulously thought out plan is terrific.
As settings, motives and methods are slowly revealed in the first half Garland allows the characters to explore their own being, which though at times can reach for too much philosophically, but never seems too preachy.
There is a drinking subplot that feels unnecessary early but is useful to the plot eventually, and at times Gleeson can look a little whiny as Caleb.
However, two conversations between Nathan and Caleb stick out, one regarding being programmed to be heterosexual and another gazing at the drip painting of Jackson Pollock and the thought processes behind it.
As the second act gives way to the pay offs of the third, Ex Machina explodes into a stunning conclusion that doesn’t ask for too much from the audience apart from anxiety.
Thrillers that mix in related discussions about grander themes are rare, and Ex Machina pulls is off excellently.
2/2
Acting
There is something about Vikander that gives her a magnetic presence on the screen.
When Ava first enters it becomes clear that the film has changed completely with a second person vying for Caleb’s trust and attention.
Where Vikander excels is with her facial movements (she doesn’t really have much of a body to use), where she demands belief from the audience in what she says, but also looks like she is hiding something and scheming constantly.
As her counterpoint, Isaac puts in another charismatic, layered performance as Nathan, a guy who feels like a villain but is also trying to be a God.
Isaac mixes in the funny, “I’m going to tear up the fucking dance floor dude”, with the serious yet always feels like he is in control of everything. Even as he is 12 beers deep, he’s a growing actor who is ready to take over the world.
Gleeson suffers at times as a character designed to move the plot forward, but as an every man lead, he is certainly worth his weight.
It’s a small cast, and Sonoya Mizuno also features in a wordless display.
1.9/2
Re-watchability
The way Ex Machina pulsates and unwinds as it goes leaves images of dimly light hallways, unravelling robots and Oscar Isaac dancing.
Because there are no glaring twists that are ruining by an initial viewing and because the pay off is so grand in the end, this movie will make it into continual rotation as that one film you can’t delete from your IQ until you’ve seen it one more time.
The 108 minute length is perfect as well, as the film never drags and drifts the plot down the river until the waterfall of the third act.
2/2
Zeitgeist
Amongst movie buffs and sci-fi nerds, Ex Machina is a topic of discussion long after the final credits.
As it features three actors just as they were exploding onto the A-list – 2015 saw Gleeson and Isaac both moved on in the sci-fi world to Star Wars, while Vikander nabbed two Golden Globe nominations (one for this role) and an Oscar nomination – it will be remembered for a long time.
But Ex Machina also didn’t really impact the box office that well as an indie sci-fi flick and odds are a lot of your friends haven’t seen it, so how well will the public remember it?
In a loaded year of cinema, Ex Machina stood out in the sci-fi sector and will be a major part of pop culture for a while.
1.5/2
Couch Opinions 