Gareth Adwards’ epic was supposed to prove the value of original ideas in a sea of sequels and spin-offs. But it’s so unconvincing, you’ll miss those IP-driven affairs instead.
In an industry consumed with franchises, sequels, spin-offs and other name-brand spectaculars, it’s admirable that
has convinced a major studio—20th Century Studios—to produce an original stand-alone science-fiction epic. Good intentions, alas, pave the road to you-know-where, and that’s certainly the case with regards to. A visually striking but shoddily written and crushingly derivative amalgam of assorted genre forefathers, the director’s follow-up to
is so sloppy, corny, and unconvincing that it almost inadvertently makes the case for its rival IP-driven affairs. provides a handy metaphor for itself via its signature sight of sentient robots with giant tube-shaped holes in their heads.
A concise newsreel prologue explains how mankind developed and became reliant upon ubiquitous artificial intelligence-powered robots, who served as society’s cooks, chauffeurs, and police officers. A nuclear attack in the heart of Los Angeles, however, permanently soured the United States’ relationship with their mecha-compatriots, and in 2065, the country is knee-deep in conflict with A.I. The primary battlefield is New Asia, an amorphous eastern region that’s embraced A.I.
Edwards and Weitz’s tale is a quasi-Vietnam War saga that depicts robots as noble, loving, and selfless, and humanity as malicious and murderous. Unfortunately, its A.I. characters aren’t interesting; they’re just valiant symbols—at least, when they’re not the butt of a joke, as happens when some autonomous cops are blown up and then walk about in headless, fritzing confusion. By striving to cast A.I. as its own “species,”concocts a binary us-vs.
France Dernières Nouvelles, France Actualités
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