This visually striking action thriller from Monsters director Gareth Edwards, which takes a sympathetic view of artificial intelligence, is a world-building triumph
) and extravagantly shouty excess . Either way, there has been a degree of artificiality, the discernible trace evidence of the acting decisions that have gone into each performance. Here, in contrast, it feels as though Washington has fully disappeared into the character. He is wholly persuasive as a trickily ambiguous man who both is and isn’t what he initially seems.
The US has declared war on all forms of AI, with shades of Blade Runner’s human-robot caste system taken to destructive extremes A slick, scene-setting montage explains the root of the human-AI hostilities: a journey that starts with sunny, faux-1950s adverts for robot helpmates and ends with radiation-baked footage of an AI-triggered nuclear attack on Los Angeles. But when we first meet Joshua, he seems removed from all this. He’s a loving husband with a heavily pregnant wife, Maya .
But when Joshua pleads with a wounded US marine to call off the attack, it becomes clear, both to us and to his devastated wife, that he knows more than he had let on about the US military operation and mission to locate the Nirmata – the mysterious creator of a generation of advanced AI. A bomb strikes a boat on which Maya is escaping, leaving Joshua alone with his grief and his guilt.
While the Nirmata’s AI entities – varying from robots to bioengineered humanoid androids – coexist peacefully with humans in New Asia, the US has declared war on all forms of AI, with shades of’s human-robot caste system taken to destructive extremes. Five years after the fateful attack, Joshua is approached by the US forces to help with a mission to end all missions: to take out a newly created AI super-weapon capable of destroying America’s first line of attack: the Nomad.
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