The letter ‘E’ cleverly captures both ‘empty’ and ‘escapism’ which aptly sums up creator Edward Malone’s thoughts on “The Creator”. The film, much like Malcolm’s novel, falls short of offering anything substantial. Disneyland’s “Star Wars” has its Emperor Palpatine and so does “The Creator” the demon city that does not rest. It’s always there, lurking in the background. It is a city where “every collision of technology and humanity is repressed”, much like Wang’s novel version of “Dented”.
Edwards, the writer, crafted the script alongside Chris Weitz, who co wrote Disney’s “Rogue One” back in 2016, a film that was not only a precursor to the series but also the most sophisticated and gripping “Star Wars” series till date. The creator is a mix of Rogers and Weitz, a blend of intellectual sophistication and immense thrill, yet somehow manages to leave a lot to be desired.
Here, the timing is also critical: It’s somewhat challenged that a movie could think that there is nothing fundamentally wrong in a world where AI is used instead of humans in different settings, especially considering that’s the very reason for the last strike of the Writers Guild of America for five months and having come to a tentative agreement. (Understandably, SAG-AFTRA is still resisting this trend). In the merworld, her technology comes in the form of sweet children, mild-mannered girls referred to as Alpheid, (Madeleine Yuan Voyles). But I think you have met her, she is this cherubic figure possessed of unbounded powers that could redeem or annihilate mankind. She is Baby Yoda. She is Ellie in “The Last of Us.” She is John Connor. She is the boy of Jeff Nichols’ “Midnight Special.” He can also be E.T. if you place him amid a slew of stuffed animals.
Also, serving as the usually unwilling paternal figure who is obligated to escort her to safety, is John David Washington. We are introduced to a montage where we come to learn that AI has been a beneficial part of our lives for decades now, doing as much as acting as chefs and even tracking stars to astronauts. However, when we meet Washington’s Joshua in 2065, AI is now held responsible for the massive Los Angeles nuclear bomb that resulted in over a million deaths (Joshua’s entire family included) alongside him losing a limb. The western regions are Anti-AI now, while Japan has welcomed the robots in it’s new cultural fusion region referred to as New Asia. In this new place, Joshua has found solace in a beautiful beach house with his wife Maya (Gemma Chan) who is pregnant. They relax while bossa nova streams from the turntable, demonstrating one of many ways this movie blends the new and old technologies. The choices for the soundtrack are amazing, including the ‘raid scene’ where Radiohead’s techno song serves as the back.
But Maya slips away from him, shattering Joshua’s daydreams. Fast forward five years, now he is compelled to partake in the quest of uncovering a concealed weapon manufactured by a clandestine persona known as The Creator. Joshua is a deep cover special operations soldier who answers to the whims of the American military and NOMAD, their metaphorical hovering gunship airship. It rampages skyward with brilliant menacing light, producing one of the most disturbing moments in the film. These swaggering bad asses are straight out of a James Cameron movie. In the end, they are all supremely led by a rough and tough Allison Janney whose main focus is barking banal orders. Though, she does enjoy a moment or two of quiet vulnerability. Probably, the most telling aspect of this film is when the United States launches an attack on this pan Asian country. It bafflingly shows the exact same imagery of the Vietnam War attack and results nominated from the souvenir box. Firstly, the result is artful, but overly familiar and not the slightest bit subtle. Mid level however, Gideon’s brutal, confined, neon flooded urban nighttime is gruesomely beautifully blade runner style.
However, it is soon after that leads Joshua into encountering his intended target. Young Alpha, who we first sight in a suspenseful atmosphere watching cartoon movies all alone in a cavernous room. As Joshua finds her, his affection towards her slowly starts growing.
On the road again, she is known to him as ‘Lil Sim’ the film gives an impression of a strained and unnecessary father daughter relationship. The visual effects are still polished and blended well, but are absent of emotion. For a moment, understanding Washington’s distant persona on screen works, as his intentions with the broken character are intended to be obscure. But the depth of Joshua’s progression isn’t in the script, and he is limited into how far he can go to prove his development.
With “The Creator” continuing endlessly with all of its final sequences, Edwards awkwardly juggles the more intricate definitions of humanity with binge worthy action sequences that are well worth the watch. By the time the Joshua character reaches the point where he needs to put his life on the line for a huge action set piece, it’s possible you’ll question precisely what role he fits into in such a muddied narrative. The beginning of the movie sets certain standards, but one can ponder what role you seek for yourself there in the end.
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