Ex Machina

Ex Machina was meant to be a big deal. Whether it's because you're a fan of Alex Garland (28 Days Later...), Oscar Isaac (Inside Llewyn Davis), Domhnall Gleeson (Harry Potter, About Time), or the Isaac/Gleeson collaboration expected for the upcoming Star Wars sequel - Ex Machina has something for you. Perhaps it's one of the modern, yet timeless, themes: artificial intelligence, life origins, human sexuality, manipulation.

Wide-eyed coder Caleb is chosen to fly to a remote location, to an obscure home/research facility owned by his employer, Nathan. It's a home nestled in nature; embedded in forest, built out of the cliffs. Garland shot much of the film in Norway, showcasing the mountains shrouded with fog, making commentary of the setting from the start. From his arrival at Nathan's estate, Caleb observes, as we do, that Nathan vacillates between detox and alcoholism, from friend to employer. He wants to be Caleb's buddy, a total 'bro,' but one of the first things he asks Caleb to do is sign a non-disclosure agreement. It may be non-standard, as Caleb observes, but the rationale behind it is sound: Nathan has created an AI (artificially intelligent computer), but he wants Caleb to test the robot, to evaluate whether or not it truly is artificially intelligent. Caleb is stunned, observing, "If you've created a conscious machine, that's not the history of man - it's the history of Gods." It's a concept that's only reinforced with cinematic visuals, going forward. Often, Nathan is seen studying his estate, exercising, trying to conquer the landscape. And yet, inside the research facility, Nathan keeps everything closely monitored, especially Caleb's interactions with the lithe and graceful Ava. Caleb is keen to discuss Ava's creation and mechanics, but everytime he puts forth a theory or a question, Nathan shoots him down, saying he doesn't want Caleb to be so scientific about his observations, that he has no interest in Caleb's familiarity with "high-level abstraction." But if Caleb's feedback isn't what Nathan is after, what is?

Caleb asks Nathan, "Did you give her sexuality as a diversion?" A completely fair question. Are Ava's flirtations merely challenges to determining the validity of her AI? How, then, does one explain her outright, subversive concern for Caleb? Who is telling the truth - the creator or the created? 

If not her flirtations, perhaps one of Ava's questions is the real diversion: "What happens to me if I fail your test?" It's a question that Caleb endeavors to answer, and he's not happy about the outcome. What he fails to consider is what might happen if Ava passes the test. What are the implications of Ava's success? How intelligent is she? 

As Ava is structured, and Nathan's facility is structured, the film is equally formatted. For every scene, we have an "Ava Session;" no doubt, this is what contributed to one reviewer's assessment of the film as a glorified stage play. Four primary characters, minimal locations, dialogue-laden ideas; I see the reviewer's point, but I can't help but sense a certain condescension at the notion. Such thorough development should instead speak highly of the film. I expect it will do well to be included in college film courses, with many more of the remarkable details delineated in students' research papers.

Like the Turing test, what you get out of it depends on the questions you ask. Like any good film, it only improves with subsequent viewings. I confess to not having been surprised by the plot, but the more analysis I apply, the more I appreciate the Ex Machina, and it's messages. Oscar Isaac has been touted as 'one to watch,' and heavily featured on the press circuit, whereas Domhnall Gleeson makes considerably fewer appearances, plays the much less showy role, and is nowhere to be seen in the trailer for Star Wars  The Force Awakens. It's a shame, because his work is equally as important as Isaac's, or Alicia Vikander's. As with any ensemble piece, the strength of one actor enhances the skill of another. Gleeson's Everyman richochets from Nathan to Ava, and his alliances, his experiences, are crystal clear for us. Vikander's training as a ballet dancer allows her to create unique movement and gestures for Ava. I've linked to an article on Ava's design - it's both new and familiar, making Garland's vision of the near-future very real.

Having seen it twice in cinemas, I anxiously await the DVD release. As a companion piece, I highly recommend Gleeson's episode of Black Mirror, "Be Right Back." 

Links:
- Grantland piece on Alex Garland
- NY Times article on the film's design choices for Ava
- My kind of article from Forbes, featuring trivia and coincidences
- The Verge interviewed Alex Garland at SXSW
- Deadline analyzes A24's marketing for the film, and why it worked
- Buzzfeed articles: Oscar Isaac's characterization of Nathan, Oscar and Domhnall play Would You Rather, 'Creepy-Sexy Sci-Fi Movie' review, behind-the-scenes dance-scene story

Standby

In January 2015, I flew to Dublin, Ireland for the first time, for a short visit. I had purchased my plane fare two weeks prior, inspired by the press release and photo call for The Walworth Farce, deciding  that I would not miss the opportunity to see Brendan, Domhnall, and Brian Gleeson in a play together. It was a great show, an incredible experience, and I loved being in Dublin. I'd like to see more of Ireland, but perhaps on another visit.

Of the three Gleesons, Brian is the one I know least. I've seen a lot of Domhnall's stuff (duh), and quite a few movies of Brendan's, but Brian's credits are a bit elusive to me. I considered re-watching Snow White and the Huntsman (Brian plays one of the dwarves), but thought better of it. I had seen him in Noreen, a short film Domhnall wrote and directed, and then in a whole bunch of the Immaturity for Charity sketches. He's great in all of these, and he proved more than capable of owning his share of The Walworth Farce. Of course this meant I was all the more interested in catching one of Brian's latest films - Standby.

In Standby, Brian, who looks more like his father Brendan than brother Domhnall does, plays Alan, a man in his late twenties, who lives at home with his father, and works with his mother at the Dublin airport after being fired from his job in finance and stood up at the altar. He's floundering, when a former flame gets stuck at the airport. She plans to catch a flight in the morning - but he's hoping she'll spend some time with him and help him get back in the saddle (so to speak).

The one-night time frame sets up a nice deadline for action, which screenwriters love. That's why they keep going back to it. Sixteen Candles, Before Sunrise, Can't Hardly Wait, Empire Records, Before Sunset, Nick and Nora's Infinite Playlist, In Search of a Midnight Kiss. Comment below with more of your favorite movies set over the course of one night - I know they're out there!

So it's not perfect. Gleeson and leading lady Jessica Paré aren't the most believable couple, though Alan's rockabilly side (he plays upright bass) is unexpected and fun. Paré hardly seems "the one who got away," but I tried not to hold it against her. Maybe the suspension of disbelief in the mismatched couple is part of the fun - making room for the dream that I could be mismatched with a Gleeson of my own. Netflix thought I would love it, and I did. The plot isn't new, nor is it unpredictable, but it is charming, and Irish, and Gleeson.

Throwback Thursday: Rear Window

When my sister broke her leg recently, the first message I sent her was an image of Jimmy Stewart in Rear Window. Leg in a cast, sleeping in his wheelchair. "Don't start accusing your neighbors of murder," I said. Hitchcock's 1954 classic has been referenced in numerous films and television shows (an excellent Castle episode comes to mind), and served as an inspiration for the 2007 movie Disturbia. Turner Classic Movies and Fathom Events brought the restored film to cinemas across the country March 22nd and 25th, celebrating its 60th anniversary last year. The film has held up remarkably well.

There are some things that don't make sense - caretaker Stella calls 56-year old Stewart a "young man" - and cameras have certainly changed, but suspense, nagging wives, torrid affairs, and being overly interested in the lives of others, has remained very much the same. 

The trivia about the film is as interesting as the film itself. Hitchcock insisted on using a full-scale set, the largest of its time; Rear Window is the only film in which Grace Kelly can be seen smoking; There was so much lighting required to simulate daylight that Paramount Studios' sprinkler system was set off. 

It's such a good, engaging, classic film that I can't find much to say about it! If you haven't seen it, you should; if you have, give it another watch, to savor the quality. 


Notes:
- Other Hitchcock films with Jimmy Stewart: Rope, The Man Who Knew Too Much, and Vertigo
- Other Hitchcock films with Grace Kelly: Dial M for Murder, and To Catch a Thief