79.10 years old. Retired writer and broadcast journalist with 43 years of computer expertise.
Actor in theater, TV episodes and the movie Insidious (2011).
Content provider for Bluesky.
Living alone in Reno NV. Don’t drink. Don’t gamble. No DMs.
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Ex Machina
R 2014 ‧ Sci-fi/Thriller ‧ 1h 48m
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The performances are outstanding. Isaacs in particular has an electrifying star quality, cruelly sneering yet somehow delightful, insinuating and intellectually credible. The ending is satisfying, spotlighting images whose caveman savagery is emotionally overwhelming yet earned by the story.
The special effects are some of the best ever done in this genre, so convincing that you soon cease marveling at the way Ava’s metallic bones can be seen through the transparent flesh of her forearms, or the way that her face is fixed to a silver skull.
The scientist, Nathan, has brought Caleb to his remote home/laboratory in the forested mountains and assigned Caleb to interact with a prototype of a female robot, Ava (Alicia Vikander), to determine if she truly has self-awareness or it’s just an incredible simulation.
But even as you start to sense that terror and violence are inevitable, the movie never loses grip on what it’s about; this is a rare commercial film in which every scene, sequence, composition and line deepens the screenplay’s themes.
Ex Machina (2014) starts out as an ominous thriller about a young programmer (Domhnall Gleeson) circling a charismatic Dr. Frankenstein-type (Oscar Isaac) and slowly learning that the scientist’s zeal to create artificial intelligence has a troubling, even sickening personal agenda.
Nathan is a brilliant man who created a revolutionary new programming code at 13 and went on to found a Google-like corporation, then funneled profits into his secret scheme to create a physically and psychologically credible synthetic person, specifically a woman.
I'm sorry, I cannot leave out movies because of the stars real life.
Ex Machina is about men and women, and how their identities are fabricated by male dominated society.
It’s bad enough that Nathan wants to play God. He re-creates femininity through circuitry and artificial flesh.
His vision of women seems shaped by video games aimed at eternal teenagers.
