Is Ex Machina yet another in a long line of Promethean caution tales? Or is it a misogynistic nightmare about the evil extremes of genius? Or wait…is it in actuality a crypto-feminist manifesto? Or…is it like Dave Eggers The Circle or Spike Jonze’s Her a satire of a somewhat scary, occasionally lovely “watch out or we’ll be doomed in a split second if we aren’t careful” future just around the corner? With its slick production values and blank slate aesthetic, Alex Garland’s Ex Machina is all of these things and none of them.
When a young programmer (Domhnall Gleeson) working for a Google-gone-mad-like company gets chosen to spend a week at the founder’s (the ever chameleon-like and always engaging Oscar Isaac) hideaway estate to work on a secret project, and it turns out to be the testing of new AI (the weirdly alluring and borderline creepy Alicia Vikander), it doesn’t take a genius to figure out where this is all going. Continue reading