Ex Machina

A gender chess game for four players. Eight years after its premiere, and in the context of Garland’s two subsequent films, Ex Machina has proven to be not only a shining directorial debut, but also a curse. Based on this film, Garland, who served as both director and screenwriter, has been inappropriately pigeonholed in the sci-fi and fantasy genre. As in his later films, however, the genre is merely a stylistic framework not for reflections grounded in science fiction and fantasy, but for interpersonal and relationship contemplations. Garland is fascinated by artificial intelligence as a field that mirrors gender issues, particularly in the sense of consciously and unconsciously stylised performance, as well as the observation, adoption and use of roles or codes that underlie most human interactions, even though they are artificial and unnatural at their core, or rather they are not inherent to our unique personalities. At the same time, Ex Machina examines the objectification of women and the extent to which we perceive the real personality on the other side of interpersonal interactions between members of the opposite sexes or, conversely, whether we merely project gender codes and patterns onto the other’s personality. It’s actually not surprising then that, on the one hand, the film is enthusiastically embraced by geeks who see themselves as Nathan, even if they are rather Caleb, while on the other hand, some paradoxically accuse it of sexism and objectification based on an interpretation that is equally limited and blind in principle. (07/28/2022)

Ex Machina is a sensitive and engaging depiction of artificial intelligence shrouded in mystery with a pleasant sci-fi feel. The actress playing the female android is great. But the surprising twist and the way it is used dramatically proves that screenwriter and director Alex Garland might not be as clever as his brilliant male heroes. (05/22/2015)

A nod to a future sci-fi classic. A beautifully intriguing, disturbing, unpredictable and decently suspenseful intelligent thriller that throws in a decent twist in the last half hour, although I had already read the final one, but I still have a positive impression. The film may have a slower pace, but it also lures the viewer's attention with very impressive interiors and a decent soundtrack, at times almost horror-like. Too bad they didn't push the bar at least two notches higher at the end, I would have considered five stars then, still a decent hypnotic cinema experience. 80% (05/08/2015)

Clear evidence that electronics labeled smart are a potential threat. That’s why I decided to disconnect my smart washing machine. I'll miss the quiet rustling of my dirty laundry, but what wouldn't a man do for safety. I also unplugged my computer because it was suspiciously overheating while playing this movie, and my monitor because it was flickering suspiciously. I'm glad I caught it so early, no one will make a fool of me! (09/05/2015)

Clever and sophisticated. Just to its own detriment, not as clever and sophisticated as it seems. Above all, the final fifteen-minute ending gives the impression that they don't know how to go on, so they just make it easier for themselves and incorporate the easiest way out of it in terms of a screenplay. They do not care at all it doesn't fit the previous story line. The Black Mirror anthology often addresses the same themes and asks the same questions, but finds much more interesting, more disturbingly current and not so obvious answers to them. Which does not mean that it is not a nicely intimate, intelligent and, above all, high-quality sci-fi, which is quite rare. Especially in Czech cinemas. PS: And if nothing else, at least the shooting took place at the Norwegian Juvet Landscape Hotel, so it is an impressive example of organic architecture in practice. (04/28/2015)