April 24, 2015


If you saw the trailer for "Ex Machina," you were probably looking forward to this film. You will not be disappointed. Alex Garland's masterpiece is a 5-star film and a new science fiction classic, with all the bells and whistles of today's filmmaking, while managing to be a pared-down, personal human drama.


In brief, this is a story about Artificial Intelligence. A megalomaniac computer scientist (Nathan) has created a top-secret female robot (Ava) and invited a computer coder (Caleb) to apply the Turing Test to her (essentially how "human" she is) in his remote hideaway and research lab. This film consists of basically three actors: the incomparable Oscar Isaac as the scientist, Domhnall Gleeson (Brendan's son) as the computer guy, and Alicia Vikander as the life-like robot. That's it. Are there Academy Awards for casting directors? The international flavor of those behind the film (England, Guatemala/Cuba, Ireland and Sweden) make for a not-quite-Hollywood film (and in this case, that's a good thing).

"Ex Machina," like 2014's "Calvary" (incidentally starring Brendan Gleeson), has an exceedingly short first Act and then boom. We're in the riveting and intriguing new world of Act Two. In "Ex Machina," the new world is not complex--it's actually rather simple--but full of tension, danger, suspicion, foreboding and unanswered questions from the get-go. Minimal electronic music sets the tone for face-to-face encounters between cast members (hardly ever more than two at a time). Who is honest? Who is not? Which motivations are real? The camera cuts back and forth frequently from the contrast of majestic mountains, greenery and waterfalls of Norway (where the film is shot) to the indoor ultra-modern, sleek lab/living quarters.


Right away we see that Nathan is arrogant and rocking a god complex. Caleb (a bright-eyed innocent) is living on Nathan's turf, on Nathan's terms in his high-security lockdown world with rigidly casual rules, and that's scary enough. Ava (another bright-eyed innocent) can be said to have passed the Turing Test on Caleb's romantic feelings for her alone. It feels like something is subtly being said about men almost preferring the perfection, the fascination of a computer, a thing, to a real woman. Stepford Wives, anyone? The feminists will have a field day with this film, which seems to be partially on the side of oppressed women--human or not--and partially reinforcing inevitable male chauvinism and domination (even if just by depicting it and by the copious full frontal female nudity). The nudity doesn't appear to be terribly salacious (but I'm a woman)--and seems more "plastic." However, Nathan and Caleb are men. They're not blind and we know that they're not strictly platonic types. And why did Nathan make a female robot, anyway? (Man creates woman.)


Nathan's handiwork is impressive and he knows it. He and Caleb hash out things like the true nature of A.I., ethics, human feelings vs. human calculations, and what the future of man vs. machine might hold. This is a sci-fi film of the moment, employing the latest technologies of the day (with which we're all familiar) as a jumping off point. Sex and gender are philosophically discussed in a somewhat Theology of the Body way. Some might call this an "intellectual film," even though the rigorous exchanges are brief. I would call it a "not dumb" film, also because it's totally entertaining. It's not mind-bending like "Inception." It's everyday stuff that we could apply to all our interactions with "digita" in some respects. (I just made up that word for all things digital.)


"Ex Machina" is dark and disturbing. It will wrap its whirring, purring, cable-y arms around you as you leave the cinema (must be seen in a cinema--this film cries for the cinematic experience!) and accompany you for a while. It's a film that begs for serious conversation and commentary.
Definitely not for kids/teens. The slow gore and skin peeling (you'll see) is altogether called for, but nevertheless, it's pretty creepy. (And the nudity is frequent.)


The film raises great questions. Among them:
Is it A.I. that is really "human" or is it we who "humanize" our own creations?
Do we really want to transfer the "battle of the sexes" into android-land?
Can A.I. be programmed with a "moral compass"? Will that moral compass be necessarily relativistic? Can A.I. be capable of or "responsible" for good or evil? (Evidently "Ultron" is that evil A.I.)
(I believe we already have the answers to these questions. A great tool is John Paul II's "adequate anthropology," of course.)

When God "programs" humans, it is for the Infinite.
When (often God-denying) non-eternal humans program their own likenesses,
they program for the finite.


--Was all the one-sided (female) nudity really necessary? The film might be making a statement about the utter vulnerability of nakedness when a thing is treated like a woman, or a woman is treated like a thing. Or not. It might also just be gratuitous pawn in a godlike director's chess game. And, in our pornified culture, we do not see the naked human body rightly. There is even a fleeting--but important--reference to porn in "Ex Machina."

--If we are at all asking the question if androids are human or if humans can become cyborgs, the only question that needs to be answered is: What is a human being? (We already know what a machine/thing is.)

--Without the God-dimension and God's dimensions to our lives, human beings can be "framed" any way we want to frame humans or certain humans. The Nazis did their own framing. Pol Pot did his. Stalin did his. John Paul II did his. Who's right?

--"Ex Machina" is one of those films like a hockey game that starts off so good that you keep whispering to yourself: "Stay good! Stay good! Don't blow the end!" (It stays good.)

--When computers can write "The Onion," I'll believe they've passed the Turing Test.

--There are no purely clinical experiments. There are no experiments on anything without the deep insertion of human beings into the experiment, willing and unwilling, at every step and every level of the endeavor.

--There's a nod to "A Space Odyssey: 2001."

--Although making full use of the art and science of film (including eye-boggling FX), "Ex Machina" could conceivably be a play. It could totally work.

--As in the movie "A.I.," will we be able to keep straight who's human, who's not?

--The actor who plays Nathan, Oscar Isaacs, was that marvelous St. Joseph in "The Nativity Story." You've seen him in several films, but you won't recognize him because he is such a consummate changeling actor.

--That code you saw on the screen? It means something:
http://www.reddit.com/r/movies/comments/365f9b/secret_code_in_ex_machina/ It's the ISBN of the book Embodiment and the inner life: Cognition and Consciousness in the Space of Possible Minds


  1. Wait...wait. You're really saying that "copious full frontal female nudity" is okay for 14-year-olds? REALLY?

  2. Thank you! Even adults must be cautious of what they view; it is rare that nudity is essential to story-telling.

    1. True enough. And it's hard for me to judge as a woman, as well. I'm in doubt as to whether or not nudity is germane to the film. It might be.

  3. Anonymous1:32 PM

    "When God "programs" humans, it is for the infinite." Does this actually "mean" anything or is it just supposed to sound profound?

  4. This comment has been removed by the author.

  5. It IS profound. If you see the film you'll understand. I can't do spoilers! :)

  6. Presents some interesting questions...but right when the film should be hitting us with some 'a-ha!' moments it swerves into voyeuristic contrivances.