Ex Machina

A gender chess game for four players. Eight years after its premiere, and in the context of Garland’s two subsequent films, Ex Machina has proven to be not only a shining directorial debut, but also a curse. Based on this film, Garland, who served as both director and screenwriter, has been inappropriately pigeonholed in the sci-fi and fantasy genre. As in his later films, however, the genre is merely a stylistic framework not for reflections grounded in science fiction and fantasy, but for interpersonal and relationship contemplations. Garland is fascinated by artificial intelligence as a field that mirrors gender issues, particularly in the sense of consciously and unconsciously stylised performance, as well as the observation, adoption and use of roles or codes that underlie most human interactions, even though they are artificial and unnatural at their core, or rather they are not inherent to our unique personalities. At the same time, Ex Machina examines the objectification of women and the extent to which we perceive the real personality on the other side of interpersonal interactions between members of the opposite sexes or, conversely, whether we merely project gender codes and patterns onto the other’s personality. It’s actually not surprising then that, on the one hand, the film is enthusiastically embraced by geeks who see themselves as Nathan, even if they are rather Caleb, while on the other hand, some paradoxically accuse it of sexism and objectification based on an interpretation that is equally limited and blind in principle. (29/07/2022)

A nod to a future sci-fi classic. A beautifully intriguing, disturbing, unpredictable and decently suspenseful intelligent thriller that throws in a decent twist in the last half hour, although I had already read the final one, but I still have a positive impression. The film may have a slower pace, but it also lures the viewer's attention with very impressive interiors and a decent soundtrack, at times almost horror-like. Too bad they didn't push the bar at least two notches higher at the end, I would have considered five stars then, still a decent hypnotic cinema experience. 80% (09/05/2015)

Ex Machina is a sensitive and engaging depiction of artificial intelligence shrouded in mystery with a pleasant sci-fi feel. The actress playing the female android is great. But the surprising twist and the way it is used dramatically proves that screenwriter and director Alex Garland might not be as clever as his brilliant male heroes. (23/05/2015)

As a matter of fact, the premise is pretty simple and builds on the psychology of two characters and one android. It is nice that films like this one get to be filmed these days, but the more of them there is, the more critical I am towards them and here everything stands and falls by the premise, which is not bad, but it is a base for a rather small-scale film. At least the ending made everything pretty clear. (05/06/2015)

Or how alcohol and programming could destroy human kind. The fantastic Alicia Vikander in the role of an innocent robot seduces the viewer who then willingly goes along with her game, gazing lovingly into her artificial eyes to the end. Garland works with an amazingly attractive concept and manages to deliver an exceedingly satisfying experience for both sexes. Gleeson is cast brilliantly as the classic nerdy programmer, but the jaunty Isaac (not Asimov) easily outplays him. A philosophical construction genius, drunk as a skunk, copulating till he’s blind, while still thinking straight. + lots of shots of bare bosoms. An unassuming gem amongst robot movies. Catching music. Man is saved by his good deeds. (01/06/2015)