Sleight of Film

Today’s quick review: Ratchet & Clank. Ratchet (James Arnold Taylor), a mechanic who dreams of joining the Galactic Rangers, finally gets his chance when Clank (David Kaye), a defective battle robot, crashes near his home with news of an impending assault on the Rangers’ headquarters. Together, Ratchet and Clank set out to help the Rangers fight Drek (Paul Giamatti), who has been destroying planets for his own selfish purposes.

Ratchet & Clank is a CGI animated science fiction comedy based on the video game series. Ratchet & Clank is a loving parody of the sci-fi adventure genre. Its world is populated with killer robots, galactic superheroes, and comedic parallels of Earth culture. The movie offers a decent plot, a bevvy of gadgets, and a dash of self-aware humor. However, its middling writing and humor keep it from living up to its full potential.

Ratchet & Clank struggles with some of its basics. The movie does a good job at kid-friendly comedy and sly, nerdy references, but its bread-and-butter jokes are more amusing than outright funny. Although the plot is fine by kids’ movie standards, it rushes Clank’s origin and his partnership with Ratchet, robbing the story of an important stage of its development.

Still, its gadget-based action and consistently light tone make Ratchet & Clank an enjoyable watch for the right viewer. Give it a shot if you are a fan of science fiction adventure and don’t mind kid-movie writing. Skip it if you are looking for polished sci-fi or a rip-roaring comedy. For a similar kids’ movie, check out Treasure Planet. For a more mature spacefaring sci-fi movie, check out Harlock: Space Pirate.

5.6 out of 10 on IMDB. I give it a 6.5 for light adventure and a few good jokes.

Today’s quick review: Robots. Rodney (Ewan McGregor), a young robot, leaves his small-town home for Robot City to pursue his dream of becoming an inventor. But when he arrives, he discovers that Bigweld (Mel Brooks), his childhood hero, has been forced out of his company by Ratchet (Greg Kinnear), a sinister businessman. With the help of his eccentric new friend Fender (Robin Williams), Rodney sets out to restore Bigweld to his former glory.

Robots is a CGI animated family comedy set in a world populated entirely by robots. Robots features an impressive voice cast, a colorful art style, and a wacky sense of humor. The movie manages to be a charming adventure that makes the most of its fanciful setting. However, its simple plot and moderately successful humor keep it from joining the ranks of the family classics.

Robots does a few things well. The comedy is as an amusing blend of robot gags, slapstick, and Robin Williams voices, although none of the jokes are smash hits. The rollicking action sequences are surprisingly exciting, even if they lack a bit of impact. The soundtrack puts in a remarkable amount of work, driving the bouncy tone of the movie and synchronizing tightly with the events onscreen.

There are a few areas where Robots suffers. The story is a paint-by-the-numbers tale about following your dreams, workmanlike but unsurprising. The film’s zany robot designs won’t appeal to everyone. Robots also doesn’t put in the work needed for truly satisfying humor or emotional payoff. As such, the characters, writing, and jokes all feel shallow, missing that extra bit of effort needed to earn a reaction from the viewer.

Watch Robots if you are in the mood for something light and silly. Robots does not have the quality needed to truly impress, but its decent action and sense of fun make it an entertaining watch nonetheless. Skip it if you are looking for an enduring family film or genuine science fiction. For a kids’ movie of similar caliber, check out Astro Boy.

6.3 out of 10 on IMDB. I give it a 6.5 for good amounts of fun tempered by a mediocre plot and a lack of knockout jokes.

Today’s quick review: A.I. Artificial Intelligence. In a future with strict population controls, Monica (Frances O’Connor) adopts David (Haley Joel Osment), a child robot capable of love, to replace her ill son. But when her real son makes a miraculous recovery, Monica abandons David rather than having him decommissioned. Alone and confused, David befriends Gigolo Joe (Jude Law), a robotic prostitute, and embarks on a journey to become a real boy.

A.I. Artificial Intelligence is a science fiction drama directed by Steven Spielberg. A.I. Artificial Intelligence explores themes of love, humanity, and innocence through the eyes of David, a naive robot who dreams of being a real boy. The movie aims high in its philosophical questions and drama, but its bizarre plot and mismanaged tone keep it from achieving its goal.

A.I. can be an unsettling movie. The early part of the film revolves around David’s flawed psychology and his not-quite-human behavior. His presence puts a strain on Monica’s psyche, and a series of close calls are what ultimately cause her to abandon him. Eventually the plot straightens out into more of an adventure, but it never loses its sense of the uncanny, with unreliable characters, bitter ironies, and a few disturbing moments.

A.I. also has issues with its story. The movie divides neatly into three segments, each with its own tone and focus. The segments are poor fits for one another, and they let the movie abandon plot threads that have become difficult. The pacing is slower than it needs to be. The logic of the plot itself has a few thin spots, and much of the movie depends on David’s extreme naivety.

Otherwise, A.I. Artificial Intelligence is a fine movie. The scenes are presented well, the CGI holds up, and Jude Law makes for a cocky, amusing prostitute. The movie presents some interesting ideas about the future, such as mankind’s ambivalence towards robots or the human tendency to believe in branding. But so much of the movie is tied up in David himself that the movie’s strengths cannot shine on their own.

Give A.I. Artificial Intelligence a shot only if you are a fan of artistic science fiction. The movie misses its mark, but its level of craftsmanship is high enough that the curious may get something out of it. But be warned that the movie lives and dies with David: without a strong emotional investment from the viewer, A.I. just doesn’t click. Most viewers are better off watching something more conventional.

7.1 out of 10 on IMDB. I give it a 6.0 for lofty ideas and decent presentation held back by a strange plot and an off-putting tone.

Today’s quick review: Kill Command. Years in the future, advances in robotics have made human soldiers all but obsolete. To test their effectiveness against combat robots, Captain Bukes (Thure Lindhardt) and his Marines are sent on a two-day training mission on a remote island along with Mills (Vanessa Kirby), a robotics technician. But shortly after they arrive, the robots launch a deadly attack against them, turning the training exercise into a fight for survival.

Kill Command is a science fiction action movie that pits a team of Marines against an island of combat robots. Kill Command backs this simple premise with decent action, neat robot designs, and solid special effects. The movie avoids the trap of grating characters; its cast is expendable but not annoying. Kill Command also has one or two sci-fi treats, such as the use of cybernetic enhancements to track robots or interface with a rifle’s scope.

However, Kill Command has almost no plot. The movie takes nearly an hour to articulate its central mystery: the question of why the robots are attacking. The answer is dull and predictable when it comes. Kill Command also goes light on its philosophical speculation. The movie touches on the replacement of human soldiers with robotic ones and the consequences of adaptive AI, but these are plot devices more than anything.

Give Kill Command a shot if you are in the mood for mindless sci-fi action. Kill Command shows more polish than other movies of its caliber, making it a thin but serviceable sci-fi pick. Skip it if you are looking for moving drama or thoughtful speculation. For a movie with a similar premise and better execution, check out Predator. For a more insightful look at the interface between man and machine, check out Ghost in the Shell.

5.7 out of 10 on IMDB. I give it a 6.0 to 6.5 for decent action and minimal plot.

Today’s quick review: The Iron Giant. When the Iron Giant (Vin Diesel), a massive, metal-eating robot from space, lands in a small town in Maine, Hogarth Hughes (Eli Marienthal), a local boy, is the first to discover it. Hogarth befriends the giant robot and teaches it about life on Earth. But to keep his new friend, he must hide him from Kent Mansley (Christopher McDonald), a government agent investigating strange reports in the area.

The Iron Giant is an animated science fiction adventure about a boy and his robot. The Iron Giant is a throwback to the science fiction of the mid-20th century. The movie features warm animation, good direction, and some charming moments. However, the movie’s simple plot and uniform tone make it hit-or-miss. For the right viewer, The Iron Giant is a heartwarming tale with good execution. For the wrong one, it can come across as a little flat.

The Iron Giant relies heavily on two key character dynamics: the friendship between Hogarth and the Giant, and Kent Mansley’s dogged search for proof of the Giant’s existence. These are both handled well, but they take up a lot of the movie without providing much variance. The moment-to-moment interactions between Hogarth and the Giant are sweet enough to make this a worthwhile tradeoff, but the movie does put its eggs in one basket.

Give The Iron Giant a shot if you are in the mood for an amusing, emotionally satisfying kids’ movie. Your enjoyment will depend strongly on how the movie’s tone catches you, but fans of family-friendly adventure should at least give it a shot. Skip it if you are looking for a wacky comedy or an elaborate plot. For a live-action science fiction film with a similar vibe, check out E.T. the Extra-Terrestrial.

8.0 out of 10 on IMDB. I give it a 7.0 for a charming but simple story; your score may vary.

Today’s quick review: Uncanny. For her latest piece, tech journalist Joy Andrews (Lucy Griffiths) is spending a week with David Kressen (Mark Webber), a brilliant but reclusive roboticist. David introduces Joy to his masterpiece: Adam (David Clayton Rogers), a lifelike android that fools even her trained eye. But as Joy and David grow closer to each other, Adam begins to experience new emotions for the first time.

Uncanny is a minimalistic science fiction drama with a touch of romance. Uncanny explores themes of artificial intelligence and human behavior by introducing a third wheel into a peculiar man-machine partnership. The movie has capable writing and a few interesting ideas, but it is missing the extra hook needed to make it a compelling watch. Its gradual build-up and stunted payoff keep it from capitalizing on the elements it gets right.

Uncanny depends heavily on its character dynamics. David and Adam are more alike than they first seem. David is a smug, blunt genius who has spent the last decade of his life cooped up in a workshop, while Adam is a sophisticated but imperfect artificial intelligence who has never had contact with another human. The inclusion of Joy into the mix brings out new sides in both of them and puts a strain in their once-effortless relationship.

Uncanny shares many traits with Ex Machina. The two movies have similar premises, deal with similar themes, and offer similar perspectives on AI. But where Ex Machina deliberately builds tension early on, Uncanny limits itself to what falls naturally out of its characters’ behavior. Ex Machina has more polish and makes for a more gripping drama, but Uncanny makes a few subtler points about humanity.

Watch Uncanny if you are a science fiction fan in the mood for a movie with limited scope and decent execution. Uncanny does not deliver the most sophisticated plot, characters, or speculation, but its general competence makes it a fine choice for fans of the genre. Skip it if you are looking for action or a tight story. For a similar movie with more suspense and better execution, check out Ex Machina.

6.3 out of 10 on IMDB. I give it a 6.0 to 6.5 for interesting writing held back by slight plot issues and a missing element of tension.

Today’s quick review: Ex Machina. Caleb Smith (Domnhall Gleeson) is a programmer at Bluebook, the world’s leading search engine. When he enters a company lottery, he wins the chance to spend a week with Nathan (Oscar Isaac), the company’s brilliant founder, at his remote home. There, Nathan asks Caleb to test his latest project: Ava (Alicia Vikander), an artificial intelligence capable of human behavior.

Ex Machina is a minimalistic science fiction drama about artificial intelligence. Ex Machina features an engrossing script, polished presentation, and a delicately handled tone. The movie follows Caleb as he interviews Ava and provides feedback to Nathan about her performance. But as Caleb gets to know Ava and her creator, he learns that more is going on than meets the eye.

Ex Machina strikes a peculiar balance between thriller and ordinary drama. The suspicious behavior of Nathan, the nature of the test, the remoteness of the house, and Ava herself all contribute to an atmosphere of suspense. But for all its suspensful cues, Ex Machina is judicious about when to escalate the tension. The result is an implied cat-and-mouse game that the viewer picks up on long before its rules have been established.

Ex Machina also makes for interesting speculation. The movie never goes into great detail about Ava’s inner workings, but it touches on real philosophical discussions in the field of artificial intelligence. Ex Machina also comments in passing on the current state of technology and the danger of living in a world of cameras and mass data collection. As for Ava herself, she is an intriguing puzzle for both Caleb and the viewer.

Ex Machina is a worthwhile watch for any fan of the thoughtful side of the science fiction genre. Its simple premise develops in fascinating ways, and the movie’s interesting writing and solid execution make it a good pick. Skip it if you are looking for action or something with a lighter tone. For another minimalistic science fiction thriller, check out Primer or Moon.

7.7 out of 10 on IMDB. I give it a 7.5 for all-around strong science fiction.

Today’s quick review: Eva. Ten years after abandoning his research and his girlfriend, roboticist Alex Garel (Daniel Bruhl) returns to his hometown to continue his work on creating a childlike robot. While looking for a child to model his robot after, he meets Eva (Claudia Vega), a curious young girl. But the girl’s mother turns out to be Lana Levi (Marta Etura), the woman Alex left behind.

Eva is a science fiction drama set in a future where robotics technology has made massive strides. Eva shows off the personal side of science fiction. Artificial intelligence plays an important role in the plot, but the movie focuses on Alex and his relationships. Eva becomes a surrogate daughter to Alex as he tries to see the world through her eyes. At the same time, he struggles to untangle his feelings for Lana.

Eva has a few awkward moments, particularly early on. Alex first meets Eva by lurking outside her elementary school, and their relationship has an uncomfortable tinge from then on. Eva is a precocious child, and her ability to catch Alex off-guard gives their interactions a strange imbalance. Eventually the two develop a more normal father-daughter relationship, but its rocky start might put off some viewers.

Beyond these rough spots, Eva makes for a competent drama. None of the characters are outstanding, but they do hit the right emotional notes. The plot meanders early on but eventually tightens up for a tidy, well-considered ending. The movie also indulges in a bit of wistful romance between Alex and Lana. Eva lacks the extra insight needed to make it a truly memorable drama, but it does have a few meaningful moments.

As far as science fiction goes, Eva offers up a few little treats. The movie has little in the way of technical analysis, but it puts up a convincing veneer of pseudoscience. The robots run the gamut from basic walking machines to lifelike replicas of animals and humans. The movie drops its science fiction elements for long stretches to focus on personal drama, but they do always find their way back to the fore.

Check out Eva if you are a science fiction fan in the mood for a subdued, personal take on the genre. Those looking for hard sci-fi or action should look elsewhere. For another grounded look at the future of robotics, but with a touch of comedy, check out Robot & Frank.

6.7 out of 10 on IMDB. I give it a 6.5 for good drama and well-used science fiction elements.

Today’s quick review: Robot Overlords. After the invasion of Earth by an army of spacefaring robots, humanity lives under occupation, confined to their houses and with no way to fight back. When teenager Sean (Callan McAuliffe) and his friends find a way to disable the robots’ tracking devices, they become the only humans able to move around freely. But the greatest threat to their newfound freedom is human: Smythe (Ben Kingsley), a robot collaborator.

Robot Overlords is a science fiction movie that pits four children against an occupying force of advanced robots. Robot Overlords is a simple movie from start to finish. The plot has a clear trajectory and straightforward conflicts. The tone caters to children and teens with its plucky young heroes and sprinkling of levity. The speculative value of the film is nonexistent: the sci-fi is there to drive the action, not explore any deeper questions.

Robot Overlords is a fairly coherent movie, but its middling quality keeps it from holding much appeal. The movie has weaknesses in its acting, writing, and action, but none of them are outrageous. The shortcomings balance each other out well enough that no single improvement would help the movie. Robot Overlords is a movie that knows its limitations and lowers its aim accordingly.

Most sci-fi fans would be better off looking elsewhere. Robot Overlords will do in a pinch, but there is little to recommend it over the other movies in its genre. Give it a shot if you are bored and looking for an easy watch. Skip it otherwise. For a better movie about resistance in occupied territory, check out Red Dawn.

4.6 out of 10 on IMDB. I give it a 5.5 for watchable but unimpressive sci-fi.

Today’s quick review: Automata. Three decades in the future, solar flares have ravaged the Earth, wiping out most of humanity and forcing the survivors to rely on robots for labor. Jacq Vaucan (Antonio Banderas) works as an insurance agent for ROC, the manufacturer of the world’s robots. When a robot is caught modifying itself in violation of its core programming, Jacq is sent to investigate the incident and determine who is behind the alterations.

Automata is a science fiction movie that deals with the question of consciousness. Automata has a decent script, a dramatic tone, and good presentation. The movie uses its budget wisely, establishing a plausible, consistent look for the technology of an impoverished future. Automata does struggle to build up tension or emotional impact. The characters are detached by design, and the world they live in is almost without hope.

Automata opts for androids that are more machine than man: quiet, inscrutable, and all but ignored by the humans around them. This choice drives home the gap between the two types of consciousness, but it makes the robots difficult to assess or connect with. Like the robots themselves, the plot has a passive feel to it. The progression works well enough, but the movie has to work hard to set up any sort of conflict Jacq can play a role in.

Beyond its plot and its take on artificial intelligence, Automata is good but not inspired. The detached characters and odd plot structure hurt the movie’s dramatic potential. The writing toys with interesting ideas but has nothing profound to say about them. Antonio Banderas does a fine job as Jacq, but he drops his usual charm for the sake of drama. In such a bleak setting, that charm is missed.

Watch Automata if you are a science fiction fan looking for a variation on familiar themes. Although not a groundbreaking film, Automata is a tidy package that scratches the itch for thoughtful sci-fi. Skip it if you aren’t a science fiction fan; it has little in the way of action, and its drama is mediocre. For a more action-oriented take on a similar premise, check out I, Robot. For a noir-influenced sci-fi movie with similar themes, check out Blade Runner.

6.1 out of 10 on IMDB. I give it a 6.5 for a decent script, an odd plot, and mixed production quality.