Garreth Edwards’ latest experimental film, “The Creator,” stands as a testament to the increasing accessibility of storytelling through various mediums as technology advances. Edwards took on the challenge of showcasing that remarkable movies can be made using affordable assets, and the result is truly remarkable.
“The Creator,” shot on a $4,000 Sony FX3 camera, astoundingly demonstrates the incredible quality achievable with such modest equipment. Edwards, renowned for his work on “Rogue One,” once again proves his mettle among the elite in the industry with this film.
The concept is compelling, particularly the humanization of Artificial Intelligence (AI), not because it’s impossible for AI to have feelings, but because it explores the potential for it. The film’s central theme of AI seeking peace but being wrongfully blamed for a nuclear strike due to human error is engaging. Despite some oversimplifications in the portrayal of politics, where humans are depicted as flawed and AI as innocent, the film retains its appeal due to its heartfelt exploration.
While the revelation of Maya as Nirmata might have been predictable, it still worked well within the film’s pacing. The storyline, in some ways, draws parallels to “The Immortals of Meluha,” likening AI to the Nagas, unjustly hated by humans merely for existing and blamed for society’s ills—albeit on a surface level.
The film’s writing, crafted by Garreth Edwards and Chris Weitz, shines, especially in delivering one of the most poignant lines in cinematic history: ‘Only good people go to heaven. We both are the same. You can’t go to heaven because you are not good. I can’t go because I am not a person.’ It’s simply beautiful.
Greg Fraser’s breathtaking cinematography is notable, managing to create distinct looks in three consecutive great films—”Dune,” “The Batman” and “The Creator.” The initial surprise of the aspect ratio gave way to appreciation, enhancing the framing and scope, particularly with the stunning VFX shots. Additionally, the sound design is superb, perfectly complementing the visuals and SFX, while the soundtrack adds depth to the overall experience.
The stellar performances by actors like John David Washington, Gemma Chan, and Ken Watanabe add tremendous value to the film. However, a desire for more scenes featuring Gemma Chan’s character, Maya, lingers. Madeleine Yuna Voyles’ convincing portrayal adds to the film’s allure; her performance is so authentic that she could easily trick me in a Turing test. Ralph Michael Ineson’s character, General Andrews, is chilling in his portrayal, his voice and actions commanding attention.
The film prompts essential questions about AI and humanity, questioning whether AI is the villain or merely learning from humans, who often pose the real threat to both AI and mankind. While advocating for AI regulation, it also underscores the destructive potential of human actions. While a more nuanced approach with multiple factions could have added depth, the film still warrants a solid four out of five star rating.
I highly recommend everyone watch it because of its sheer awesomeness!
