The Creator left with a head start. Original science fiction works are so rare that the mere idea of seeing one made us happy.
Especially since it is a creation by Gareth Edwards, director of Rogue One and of Godzillawhich we really like.
The fear of witnessing a missed opportunity was quickly dissipated by the magnificent visual style, the impressive special effects and the realism of the futuristic society depicted. However, it is the finesse of the relationship between humanity and artificial intelligence that won us over.
The Creator is not the first work to question whether robots have a right to life and liberty. But the questions raised by the screenplay by Gareth Edwards and Chris Weitz provoke reflection that stays with us for days. Symbolizing the highest form of artificial intelligence by a child probably has something to do with it.
The film opens with false archive images which recount the harmonious evolution of human-robot relationships until the detonation of a nuclear bomb in Los Angeles by an artificial intelligence. Following the disaster, the West decides to ban artificial intelligence and goes to war with New Asia, which still treats androids as full beings.
PHOTO PROVIDED BY 20TH CENTURY STUDIOS
Police robots in The Creator
Fifteen years later, in 2070, Joshua (John David Washington), who has already participated in an infiltration mission in New Asia, is asked by the American army to return to service, in order to flush out the most recent weapon manufactured by Nirmata, “Creator” in Nepali. The former soldier accepts, clinging to the hope of finding his wife Maya (Gemma Chan) who disappeared before his eyes five years ago.
In search of a ghost, Joshua then makes a series of dangerous and selfish decisions. He always escapes in extremis, but his compatriots and friends are mostly left lifeless behind.
Although the action scenes are successful, we experience frustration seeing the protagonist repeatedly throw himself into the den of the wolf without any real consequence.
His motivations change somewhat following his meeting with Alphie (Madeleine Yuna Voyles), the weapon so feared by the Americans. Unable to eliminate simulating with the features and innocence of a little girl, Joshua joins the opposing camp. He maintains hope of seeing his beloved again, but develops a paternal instinct which will gradually guide his choices. By meeting Alphie and the freed robots of New Asia, he will also perceive this “species” in another way.
The Creator mix of visual and narrative aspects of Blade Runner, Lone Wolf & Cub, Star Wars And Apocalypse Now. The inspiration is visible, but without any sense of copy. This is a serious film which shows without restraint the impacts of a war of ideologies. The sincerity of the emotions keeps us engaged and reaches its climax in a breathtaking third act.
The music of Hans Zimmer then the images of Greig Fraser (Dune) and Oren Soffer maintain a tension that keeps us on the edge of our seats, while the bond between Joshua and Alphie who have reached the end of their quest crystallizes. John David Washington (Tenet, Malcolm & Marie) and Madeleine Yuna Voyles, in her first role, deliver a performance at this moment so strong that it elevates the film as a whole.
Indoors
Science fiction
The Creator
(v. f.: The creator)
Gareth Edwards
With John David Washington, Madeleine Yuna Voyles, Gemma Chan
2:13 a.m.