“The Creator” film depicts futuristic clash between AI and the human race

If the action of Apocalypse Now was combined with the dark sci-fis Logan and Blade Runner, you would get The Creator. Directed by Gareth Edwards, the film debuted in theaters on September 28. 

The sci-fi adventure film is an inventive and emotional story jam-packed with action, existential themes and visual beauty; though, it’s marred by surface-level script problems and toned-down performances.

The film takes place in 2064 after artificial intelligence dropped a bomb on Los Angeles. The attack sparks a war between the U.S., New Asia (the safe haven for AI) and Nirmata, the creator of advanced AI called Simulants. Leading character Joshua, portrayed by John David Washington, is an ex-special forces soldier grieving over the loss of his wife, Maya, portrayed by Gemma Chan. The couple met while Joshua was undercover gaining intelligence on Nirmata who was believed to be Maya’s father. 

Joshua is drawn into the war when the government reveals that Nirmata created a super weapon, Alphie. When he discovers the weapon is a child, played by Madeleine Yuna Voyle, Joshua changes course as he grapples with moral implications. He initially interrogates Alphie about Maya’s whereabouts, but their dynamic softens once the two realize they’re not so different. Soon after, a chase for the fugitive weapon that Joshua harbors ensues. 

The alluring adventure clocks in at just over two hours, which at times, moves quickly. Although futurisms involving humans-versus-robots and the war for independence are unoriginal, the cinematic beauty is striking.

Immediately noticeable is the film’s impressive world-building. Director Edwards and co-screenwriter Chris Weitz maintained an intuitive creative process. The interaction between the technology and its surrounding environment seamlessly progressed the film’s plot. One scene in particular shows Joshua’s superior, portrayed by Allison Janney, using a device that extracts a deceased soldier’s conscience and inserts it into a Simulant. The technology itself is not only imaginative, but the use of it is also an effective vehicle in plot progression. 

Despite a recycled plot, impressive visuals maintain the viewers’ attention. An artistic collaboration between Edwards and cinematographer Greg Fraser, the appearance of the film was beautifully crafted with professional equipment and attention to detail. 

The $80 million film deceives viewers into thinking it has a budget of double that. With a filming location in Thailand, the juxtaposition of green foliage and blue technology is captivating. Wondrous aerial shots and mind-bending moments highlight the scale of the cinematography. To see and experience film in IMAX is to be immersed in this dystopian future. 

Edwards’ vision and tonality for the first and second acts was encapsulating. There was an overwhelming sense of eeriness and mystery that revolved around the god-like status of Nirmata. The more viewers learned about the coexistence of AI and humans, the creepier the film became. Advertisements for taking someone’s likeness and making them a Simulant were projected onto skyscrapers, an off-putting site at that. When the audience is first introduced to Alphie, the character is sitting in a dark, barren room. The only light source comes from large TVs playing cartoons with the sounds of children’s voices echoing off of the walls. 

Despite these high points, the film falters in acting and scriptwriting. 

The relatively tame performance by John David Washington is one to note. While at moments Joshua’s personality peeks through, it is not substantiated in scenes that beg for it like the existential discussion between him and Alphie. 

In the script, the dialogue felt awkward and generic – its only purpose to push the story along expositionally without adding to character development. The pacing, effective in the first two acts, suffered later on. By the third act, the aforementioned eeriness was drained from the story. Replaced by a synthetic and predictable cookie-cutter Hollywood ending, all mystery was solved. 

Although not a genre-defining film, when the theater house lights came up, satisfaction was spread across the auditorium.