Ex Machina exposes the insecurity of the male ego by showing his lust for creation as simply another strand in the patriarchal power game. The film's trajectory forms a thrilling, exciting corrective.
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Stylish, elegant, tense, cerebral, satirical and creepy. Garland’s directorial debut is his best work yet, while Vikander’s bold performance will short your circuits.
Ex Machina turns out to be far wittier and more sensual than its coolly unblemished exterior implies; it’s a trick that mirrors Ava’s own apparent Turing-test-defying evolution.
The picture is a triumph: it's arguably Garland’s tightest and most fascinating screenplay to date, brought to life with meticulous filmmaking and sensational performances. It's the first great film of 2015.
With a sly dreaminess, Vikander steals the movie from the two males.
This is bewitchingly smart science fiction of a type that’s all too rare. Its intelligence is anything but artificial.
The story ends in a muddled rush, leaving many unanswered questions. Like a newly launched high-end smartphone, Ex Machina looks cool and sleek, but ultimately proves flimsy and underpowered. Still, for dystopian future-shock fans who can look beyond its basic design flaws, Garland’s feature debut functions just fine as superior pulp sci-fi.
Vikander’s spellbinding, not-quite-human presence (her synthetic skin is silky yet creepy) keeps us watching. But an only-too-obvious ‘twist’ and some clunky plotting...drain much of the credibility from a story which promised so much.