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The foundation for Ex Machina was laid when Garland was 11 or 12 years old, after he had done some basic coding and experimentation on a computer his parents had bought him and which he sometimes felt had a mind of its own. Trying to find an answer on his own, he started reading books on the topic. During the pre-production of Dredd , while going through a book by Murray Shanahan about consciousness and embodiment, Garland had an "epiphany".

The idea was written down and put aside until later. Principal photography began on 15 July [14] and was shot over four weeks at Pinewood Studios and two weeks at Juvet Landscape Hotel in Valldalen , Norway. The film was shot as live action , with all effects done in post-production. During filming, there were no special effects , greenscreen , or tracking markers used. Ava's robot body was achieved using a detailed costume, a full bodysuit made from polyurethane with metal powder poured onto it to create the mesh.

There were lines on the costume to make it easier for VFX company DNeg to digitally remove parts of the costume in post production. The parts necessary to keep, especially her hands and face, were then rotoscoped , while the rest was digitally painted out and the background behind her restored.

Camera and body tracking systems transferred Vikander's performance to the CGI robot's movements. In total, there were about VFX shots, of which approximately were "robot" shots. However, Universal and its speciality label Focus Features , refused to release the film in the United States, so A24 agreed to distribute the United States release. The site's critics consensus reads: " Ex Machina leans heavier on ideas than effects, but it's still a visually polished piece of work—and an uncommonly engaging sci-fi feature.

The magazine New Scientist in a multi-page review said, "It is a rare thing to see a movie about science that takes no prisoners intellectually The review suggested that the theme was whether "Ava makes a conscious person feel that the Ava is conscious". The New York Times critic Manohla Dargis gave the film a 'Critic's Pick', calling it "a smart, sleek movie about men and the machines they make".

IGN reviewer Chris Tilly gave the film a nine out of ten 'Amazing' score, saying "Anchored by three dazzling central performances, it's a stunning directorial debut from Alex Garland that's essential viewing for anyone with even a passing interest in where technology is taking us. And while Ex Machina replaces the stitches and neck bolts with gears and fiber-optics, it all feels an awful lot like the same story".

Club criticised the way the science fiction, near the end, veered off course from being a "film of ideas" by "taking an arbitrary left turn into the territory of corny slasher thrillers": "While Ex Machina ' s ending isn't unmotivated [ Up until the final scenes, Garland creates and sustains a credible atmosphere of unease and scientific speculation, defined by color-coded production design [ 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. Recent claims by a Google employee that an artificial intelligence system had become " sentient " have reignited the debate surrounding the film. Blake Lemoine, a currently suspended Google software developer, claims he reached this conclusion after a series of conversations with LaMDA, the company's artificial intelligence chatbot generator.

In interviews and on social media, Lemoine has discussed his interactions with the AI, stating that it had addressed "personhood" and "rights" and that it desired "to be recognised as an employee of Google rather than as property". When he presented his findings to Google representatives, they dismissed them as unfounded. From Wikipedia, the free encyclopedia. Andrew Macdonald Allon Reich. Ben Salisbury Geoff Barrow.

Film4 DNA Films. Release dates. Running time. United Kingdom [2] [3] United States [2] [3]. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Film portal. British Board of Film Classification. Archived from the original on 23 January Retrieved 23 January European Audiovisual Observatory.

Archived from the original on 23 June Retrieved 1 July British Film Institute. Archived from the original on 3 October Retrieved 29 September Consequence of Sound. Archived from the original on 11 July Retrieved 20 May Box Office Mojo. Archived from the original on 13 June Retrieved 16 June Archived from the original on 28 May Retrieved 22 May The Washington Post. Archived from the original on 24 October Retrieved 27 August Archived from the original on 29 January Retrieved 21 May New Statesman.

Archived from the original on 22 May New Scientist. Archived from the original on 17 November Retrieved 27 December Archived from the original on 15 May Archived from the original on 2 July Retrieved 4 May Pinewood Group. Archived from the original on 1 December Retrieved 18 June The Credits. Archived from the original on 21 May Archived from the original on 8 December MovieMaker Magazine.

Archived from the original on 16 February Retrieved 10 April ICG Magazine. Every person who has asked about the robot costume assumed it was a blue screen suit, but we actually made that. Archived from the original on 18 April The Verge. Retrieved 31 August Archived from the original on 5 March Archived from the original on 1 April Retrieved 4 March Archived from the original on 6 March Archived from the original on 19 January Retrieved 30 October Film Music Reporter. Archived from the original on 8 March Retrieved 26 February Autotelics, LLC.

Archived from the original on 15 June Retrieved 7 June Archived from the original on 12 March Retrieved 3 May Archived PDF from the original on 1 November Archived from the original on 4 November Retrieved 17 April South by Southwest. Archived from the original on 26 February Archived from the original on 31 October Archived from the original on 10 November Retrieved 11 November Rotten Tomatoes.

Fandango Media. Archived from the original on 20 August Retrieved 20 March CBS Interactive. Archived from the original on 10 April Retrieved 24 April Archived from the original on 19 February Retrieved 18 February The New York Times. Archived from the original on 2 June Caleb, a 26 year old programmer at the world's largest internet company, wins a competition to spend a week at a private mountain retreat belonging to Nathan, the reclusive CEO of the company.

But when Caleb arrives at the remote location he finds that he will have to participate in a strange and fascinating experiment in which he must interact with the world's first true artificial intelligence, housed in the body of a beautiful robot girl. Parental Guide. This movie is obviously allegorical, a fascinating tale about AI, but it is mainly about manipulation and power. It isn't for those wanting action or spectacular CGI, the movie is aimed at people who like to think, rather than passively wait to be entertained.

There are themes here not only about AI, but also about surveillance, with excellent points about how data about us is collected by phone companies, search engine companies, commercial operating systems makers and so on. The plot seems simple but isn't, it's extremely clever, with the protagonist playing games, trying to stay one step ahead of one another. This is a movie with perfectly consistent internal logic that plays out perfectly.

Don't go in expecting too much, however, as I can see most people will not be satisfied by this movie, but for me, it does what it sets out to do brilliantly. This movie succeeds where another recent movie about AI, Transcendence, I think it is called, failed but it was an interesting failure.

A third movie about AI, a Spanish movie called Eva, was also brilliant. Eva was more moving and this movie more philosophical. But both movies were perfect in their different ways. The AI's name in this movie, Ava, seems to be a nod to the title of the Spanish movie. As an aside, it's nice that no "stars" appeared in "Ex Machina" and "Eva", the casting was great. Of course there are several aspects of this movie that are unrealistic and often absurd. But because this is an allegorical movie, these are acceptable, because the movie is making points, rather than striving for realism.

It's more of a fairytale than accurate portrayal. I watched a movie with a really good script. I'm impressed. If Ava Caleb had rescued it would be a blind movie and it would be absurd. Ex Machina Hollywood has mastered this genre and has always come up with something new to offer resulting into the lack of diversity on the last couple of years in this genre making this one the smartest of it.

Ex Machina is that slow train that takes too much time to reach its destination but the ride offered here is comfortable, interesting and filled with twists and thick plots and sub-plots.

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