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133 min.
Gareth Edwards
Action, Drama, Adventure, Sci-Fi, Thriller
Rating *
Votes *
2.8% (1:36)
* View IMDb information

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  1. KuroSawWhat's avatar


    After the hatchet job which Disney pulled on Rogue One, I was interested to see whether the lack of emotional investment which I felt toward its characters and the unearned plot beats and payoffs were the fault of their corporate meddling or Gareth Edwards' original directorial choices. After watching The Creator, I do believe that it was Edwards' vision, shining through brightly and blandly.

    Without realizing it, I seem to have now viewed Edwards' entire feature filmography--including Godzilla (2014) and Monsters--and I see a common thread between all of his films. He is very focused on achieving key "moments" which he hopes to see in the end film, along with striking imagery to accompany them. However, the connective threads which lead between these key moments, which could be used to add depth to the characters and emotional weight to the subsequent plot beats.. these sections seem like afterthoughts. No finer example can be found than in his breakout film Monsters, which literally did not have a script! The actors in that film were told to ad lib their lines for entire scenes, leading to lots of riveting dialog, such as, "So, uh, what do you think we should do now?"

    These problems are on full display in The Creator. In the opening scene, two people are rolling in bed together, whispering about how much they love each other. Who are these people? We don't yet know. But them saying that they love each other is good enough motivation for the entire film, apparently! Then, to set things in motion, our main character shoo's some people out of the room and loudly shouts into a radio, "I'M UNDERCOVER!! [sic]" and is shocked to turn around and see that he was overheard. I nearly laughed out loud in the theater, and we're less than 5-minutes in.

    From there, Edwards begins "artistically" transitioning from key scene to key scene with literally no transitions in-between, and characters continue spouting one-dimensional dialog which we are meant to take at face value: "I feel this. Those people did X because of Y." There is a lot of telling rather than showing (breaking film rule #1).

    I will admit that Edwards has a very distinctive visual style, but he really needs someone else to be writing the script.

    I'm not saying this is a bad film. It's fine. It's competent. It looks great and feels like a lived-in SF universe. It's a good little adventure travelogue. And I'm happy to see a story that is more about how key events impact people on a personal level, rather than being about some world-ending event. I want to see more of that in contemporary mainstream SF.

    But when it did come down to how the people in this film were impacted by the events which unfolded, I felt nothing. Not even a tickling of emotion. The desired story payoffs were completely unearned.. just like in Rogue One.
    8 months 3 weeks ago
  2. Toastinator's avatar


    A nice looking movie without any real substance. 8 months 3 weeks ago
  3. Siskoid's avatar


    The real stars of Gareth Edwards' The Creator are the folks at Industrial Light and Magic - there's a lot of visual world-building, and it looks amazing. The script, however, is rather undercooked and often derivative (Edwards' inspirations might include Neon Genesis Evangelion, Doctor Who, The Matrix, and most immediately, Space Sweepers). 40-odd years from now, where A.I. has become a race of sentient robots at war with the U.S., but living peacefully with humanity in New Asia, one American soldier (John David Washington) tries to save the A.I. weapon - a little girl with the power to end the war - who is a mirror image of his own unborn child. Liberally lathered with religious overtones, it has some of the feel of a thinking person's science-fiction, but it's a surprisingly military action story, and its philosophical concerns are pretty cursory, especially compared to, well, everything from Blade Runner to Ex Machina. The little girl's quite good though. And while the film no doubt went into production before the current kerfuffle regarding A.I., it does feel very strange (one might say immediately dated) to have A.I. as the scapegoated race in a sci-fi film, nominally standing for any minority or foreign creed in our own world, but accidentally(?) saying we shouldn't stand against the "A.I." of recent controversies. Well, perhaps the studio is happy to promote that, I don't know... 8 months 2 weeks ago
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