Robots and Artificial Intelligence are hot subjects in science fiction these days, blending cool technology with the fear that such progress will, perhaps rapidly, replace humanity as the dominant life form on Earth.  Both Chappie and Ex Machina  explore aspects of AI development, and both are visionary movies.

Alex Garland’s film transports computer programmer Domhnall Gleeson to the very remote residence of billionaire Oscar Isaac, to take part in an experiment involving a female robot who may or may not be sentient.  The robot, Ava (Alicia Vikander), is aware of her situation and surroundings, and wishes to be let loose.  The beauty of Garland’s script is how nothing is quite what it seems; it’s like a chess game being played out on screen, building up to moves with startling consequences as the game nears its inevitable climax.

Garland’s film is quiet and restrained for most of its running time, taking excessive care to explore every nuance of its unique story.  It sometimes turns bizarre, as when Isaac disco dances with another of his robots, yet the story remains totally compelling even when it seems to be heading toward formula.  This is yet another version of the “Frankenstein” motif — that there are some things mankind is not meant to know — and yet it delivers a hopeful tone within its cautionary scenario.

I was somewhat concerned that Isaac did not build Isaac Asimov’s three basic laws of robotics into his creations; neither they, nor Asimov himself, is ever mentioned.  This must be deliberate, but anyone who even tinkers with AI or robotics should not be allowed to continue unless Asimov’s guidelines are followed.  Not doing so will most certainly lead to a robot apocalypse.

Ex Machina is thoughtful, expansive science fiction.  Its controlled, small scale story boasts enormous ramifications for the future.  It works on every level dramatically and thematically, although I was distracted by the unanswered questions I had at the conclusion involving Domhnall Gleeson’s character.  It may be a bit strange for some viewers, but this is a masterful work.  ☆ ☆ ☆ ☆.  12 May 2015.