The latest British movie to play the imitation game, Ex Machina, is the directorial debut of novelist-screenwriter Alex Garland. This time, the stakes are higher than the Nazi conquest of Europe. The talky sci-fi puzzler turns on nothing less than the potential displacement of humans by artificially intelligent cyborgs.
Then again, maybe the film is just another riff on the battle of the sexes.
The movie’s title abbreviates deus ex machina, Latin for “god from a machine.” (It’s a reference to ancient Greek plays where a god character materialized at the end to put everything right.) In Garland’s scenario, the god is Nathan (Oscar Isaac), the tech prodigy who launched and controls Bluebook, a fictional mashup of Google, Facebook and a nongovernmental NSA.
The machine is Ava (Alicia Vikander), devised by Nathan much the way another startup founder invented Eve. Ava sports a synthetic frame that’s mostly see-through, but covered and curvy in all the right places. She has sex appeal, but does she have consciousness?
Determining that is the assignment of the third main character, Caleb (Domhnall Gleeson), a Bluebook coder. If Nathan is approximately a god and Ava transparently a goddess, Caleb is the patsy.