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As we enter the season of mega-blockbusters and special effects-driven epics, there’s some relief in watching a low-key, fairly straightforward sci-fi flick that relies more on atmosphere than spectacle. Writer/director Caradog W. James’s The Machine fits that bill nicely. While its somewhat minimalist approach shortchanges a bit on plot and character, the film engages on a conceptual level with some compelling imagery and an impressive lead performance.
In the near future, a lasting cold war between China and the Western powers has led to a renewed high-tech arms race. Working for the British government, scientist Vincent McCarthy (Toby Stephens) develops new prosthetic and artificial intelligence technology in hopes of creating the perfect synthetic soldier. When his new colleague, Ava (Caity Lotz), is killed, he uses a scan of her mind and body to build his prototype. This new Machine, however, may not be everything Vincent hopes for.
The nature of artificial intelligence and the perils of sentient machines overtaking humanity have been staples of the genre for over a century. In that respect, The Machine doesn’t bring much to the table that we haven’t seen before. The Machine’s attempt to conceptualize a true sense of self recalls bits from sources as varied as Blade Runner and Star Trek: The Next Generation. As Vincent questions midway through the film, echoing so many other works, is it alive or just a clever imitation?
It doesn’t help that the human characters are also as stock as they come. Stephen’s Vincent fills the role of the conflicted scientist, taking military money in hopes of creating something that will benefit mankind, while his boss, Thomson (Denis Lawson), practically cackles as the evil bureaucrat who’s bent on obtaining the perfect weapon. There’s only a little shading to either character, making them fairly clever imitations of humanity themselves.
Once you get past these rough edges—and you really should—The Machine presents some genuine treats. Most of the action takes place in a low-lit underground lab that’s clearly designed more for visual impact on screen than any sense of practicality. James definitely understands how to build atmosphere, and little details like lighting choices and the grunting proto-language spoken by the facility’s cyborg guards keep a sense of unease running throughout the film.
Both of those strengths are realized in the physical aspect of Caity Lotz’s performance as the Machine. She’s not fully convincing as genius computer programmer Ava, but she inhabits her second role with a wonderful sense of stillness and a dancer’s grace. James visually enhances her performance with bursts of light under her skin at key moments, and the effect can be hypnotic. Lotz can also handle a fight scene, and when the film addresses the Machine’s soldier programming, she brings enough toughness to be believable as a threat.
Despite some of the been-there-done-that qualities in its character and plot, there’s plenty for a sci-fi fan to dig into here, free from the spectacle that can distract in bigger-budget summer blockbusters. Much like the artificial intelligence that it depicts, The Machine feels a bit unfinished but unquestionably alive in its own way.
Ed. Note: The Machine is currently available on VOD through iTunes and Amazon Instant Video, with a limited theatrical release to come. Check your local listings for more information.
