The Machine arrives in British cinemas with a prestigious BIFA award to its name, acknowledged in the Raindance category, which celebrates innovation in low-budget, independent cinema. It’s safe to say this accolade was a judicious decision, in a film that pushes the boundaries of what can be achieved on such a modest sized allowance. Director Caradog W. James should be commended as a result, and other British filmmakers should be encouraged to create science fiction movies of this ilk, however regrettably The Machine doesn’t quite shake off the tedium that exists, in a film that’s still a little rough around the edges to say the least.
Set in the not too distant future, with a Cold War ongoing between China and Britain, both nations seem intent to outdo the other technologically, and with the ambition of creating a superior, infallible force of robots to aid the United Kingdom’s cause, comes the potential danger of giving these machines too much power, and putting the human race in danger. Avant-garde scientist Vincent (Toby Stephens) appears to hold the key in this dilemma, as he creates the first ever self-aware model of artificial intelligence, with fellow scientist Ava (Caity Lotz) assisting him. However despite their best intentions, Vincent’s war-mongering boss Thomson (Denis Lawson) seems determined to train this robot into a killing machine.
Where The Machine comes up trumps, is within the striking and memorable cinematography. There’s a brooding ambiance that is created by a dark aesthetic, with the presence of orange sunset looming over proceedings, to make for a distinctive atmosphere. Though James can be accused of implementing perhaps too much lens flare at times, in a film that offers little natural light to the viewer. The future is depicted in an intriguing way, and done so with minimum contrivance, while the special effects – thought nothing particularly noteworthy – more than present a world that we fully abide by. Meanwhile the hypothetical war scenario is frustratingly ambiguous at times, though it remains a persistent backdrop to this intense picture, and in some respects it doesn’t need to be prioritised, merely creating a foreboding feeling that accompanies the piece.
Vincent is a fascinating lead role too, and a difficult one to judge – adding an element of unpredictability, particularly in the early stages when his motives are never quite transparent. He manages to remain endearing and empathetic throughout though, enhanced when we learn of his daughter suffering from brain damage – a leading reason as to why he is so desperate to help create a robot that can think for itself. However to counterbalance this, he is still shady and elusive and it takes a while to earn that trust from the viewer. Lotz is equally as impressive, and it’s a real credit to the actress that throughout this film we care for her and yet fear her in equal measure, believing in the character at every step of the way. That being said, there is a somewhat needless sexualisation within this title, as the film loses some of its integrity when the female robot turns up wearing nothing but an oversized, baggy man’s shirt.
Despite the various positives that exist, the film does remain rather flat throughout, and you’re left wanting at times, as you wait for the suspense to kick in, or for that grand finale to begin – and yet the intensity frustratingly remains at a controlled pace, never blowing you away or shocking you as you’d hope for it to. Conversely, James is presenting a more intimate tale, amidst the grandiose setup, staying triumphantly within its means, and ultimately benefiting as a result.
[Rating:3/5]
The Machine is in cinemas/VoD 21 March and DVD/Blu-ray 31 March. The film premiere takes place on 19 March at VUE Piccadilly in London. Visit here for premiere tickets:http://bit.ly/1oGcK8p
