Review of Ex_Machina – Part I

Having finally had the chance to see this much-hyped, much-discussed film, it’s my turn to offer some initial thoughts on it. I call this ‘Part I’, because there is no way that this is the last word on the subject, and certainly not the last thing you’ll see about it here. I’m also conscious that this early into its official release, it’s unlikely that everyone that wants to see it has already done so, and while I’m keen to put some thoughts out there, I’m also equally eager to avoid spoilers that might detract from the experience for those who haven’t yet made the trek to the cineplex.

But nothing I can say can really avoid giving some hint that might be misconstrued as a spoiler. For example, my most immediate thought, the thing that first comes to mind that I need to report, is a terrible giveaway. If I say, ‘Ex_Machina very much follows a straight-forward Frankenstein plot‘ well, that pretty much says if not it all then certainly it says enough.

But there it is. Ex_Machina follows the Frankenstein-robot plot rather neatly. Which is a bit of a disappointment, if I’m being honest (and why I’m so looking forward to Big Hero 6), because I’m hoping for more films now that more completely break that mould. I should add that it’s not all that simplistic, and follows rather what I consider to be Asimov’s re-casting of the Frankenstein plot: though Asimov detested the Frankenstein complex, his work often replaces the mad scientist with the mad institutional entity — e.g. the corporation, the military. In Ex_Machina, while our AI is created by a scientist who is clearly a couple of resistors short of a circuit board, there is a suggestion that it wasn’t his prodigious scientific talent that drove him to madness but his corporate empire.

Also rather predictable is the fact that we have yet another film where we see here lots of pretty gynoids (female robots) and while some have questioned whether the film is ‘sexist’ for its depiction of naked (fabricated) female flesh, most opinions — mine included — seem to uncomfortably, benevolently settle on the conclusion that the film is making some very important points about the crises of masculinity. (To which, I would add, borrowing from Angela Carter, we might also include a point about the patriarchal origins of the madness of reason… watch this space.)

The question remains: why are we so obsessed with robots and AI in female form?

None of this is to say, however, that Ex_Machina does not provide surprises, or that it is not a thoughtful, insightful film about AI and our increasingly human-like technologies

I was thinking throughout the film that there is a big difference between Artificial Intelligence and Artificial Emotion, between rational intelligence and emotional intelligence, but that this is almost always elided in film and fiction about robots. There seems to be an unspoken assumption that ‘smart robots’ mean robots that can ‘feel’, which seems a pretty big leap to me. There are a lot of big leaps in any such sci-fi movie, to be sure, but here’s one that I find too often neglected. To the immense credit of Ex_Machina, however, and what sets it apart, is that this difference is not overlooked; this difference, in fact, becomes the fulcrum of the film. The question of ‘intelligence’ and intelligent responses versus emotional responses — the difference between the two, how often this difference is overlooked, and how often they are confused — lies right at the very heart of the more fundamental question that the film poses, which is the subject of so much science-fiction that purports to be about robots, or aliens, or monsters. That question is, simply, What does it mean to be human?

The interrogation of intelligence — and how it defines or defies the human — is implicit throughout the film. An intriguing throwaway line from Nathan, founder of the Google-clone ‘Bluebook’, that the name of his search engine relates to Wittgenstein’s notes on language, shows that Garland is encouraging us to delve and read much more into this. (Again, watch this space.)

Anil Seth, writing in The New Scientist, says:

The brilliance of Ex_Machina is that it reveals the Turing test for what it really is: a test of the human, not of the machine.

I would agree with that, wholeheartedly. Going maybe further, or spelling that idea out, I would say that the brilliance of Ex_Machina lies in the way that it tests our very notions of what it means to be human. Because within this classical (or Romantic) Frankenstein framework we are confronted with the same classical (or Romantic) Frankenstein question: what we see at the end of Ex_Machina is not that machines are capable of acting as human as we are, but that humans are capable of acting as inhumanely as machines. machines may be capable of acting as inhumanely as we are.

And here’s a thought to take away from the film, for everyone from the technophobes to the Singularians: maybe AI will only truly be sentient when it realises not only its capacity to act human, but its capacity to act inhumanely, like us.

So, for now, the recommendation: Yes, please, do go see it. Whatever else, it is a really enjoyable film; it is a gripping, intelligent psychological thriller. I’m sure we’ll be talking about it for a long time. It is already proving a worthy candidate in the Great Cannon of robot films, right up there with Metropolis, Blade RunnerTerminator and the rest. Here’s the trailer again, to whet your appetite once more:

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