All I knew of The Creator heading in was that it was a new science fiction thriller about artificial intelligence from director and co-writer Gareth Edwards. I've been a fan of Edwards since Monsters; his few films since then have all been major titles on my favorites list each year, including his revival of Godzilla and of course Rogue One, which is my favorite Star Wars film by far. Upon reflection -- and perusal of the film's credits -- it makes sense that this new film feels and looks a lot like Rogue One: Edwards previously worked with Chris Weitz to write both movies, as well as with cinematographer Greig Fraser (Dune, The Batman). As such, it's a complicated, rich experience of world-building in the vein of Blade Runner, Alien, or District 9, one that combines gritty, realistic science fiction with heightened concepts of humanity's purpose and doom.
We're told right away, during a brief but effective montage, that artificial intelligence has (in the fictional world here) been a crucial and helpful part of global culture for many years, from rudimentary robots to complex computer-controlled vehicles and surgeons. We are then suddenly introduced to 2065, when AI had dropped a nuclear bomb on Los Angeles and been banned from the Western world. In fact, the US seems to be leading the charge, and a new conglomerate of nations making up "New Asia" is the sole remaining holdout, all but worshipping AI and protecting its use. The US is seeking "Nirmata," which translates to "The Creator," the mysterious architect of New Asia's groundbreaking AI technology. The US uses NOMAD, a mobile space station that can launch devastating attacks on entire cities in its hunt to destroy AI in the Eastern world.
It's all a very heady setup, but in Edwards's capable hands and mind, it's not too overwhelming with sci-fi jargon. In fact, once you accept the premise of this film, the narrative and themes are surprisingly simple. After you get used to the sight of NOMAD, one of the most fully realized fantasy weapons of mass destruction in a film in ages, you realize it's just a Star Destroyer of a different shape. The story proper concerns Joshua, played by the always wonderful John David Washington, whose family has killed when LA was destroyed. Since then, he has worked undercover for the Army to locate Nirmata in New Asia; he fell in love and lived with Maya (Gemma Chan), believed to be Nirmata's daughter, until their home is attacked and Maya is apparently killed. Five years later, Joshua is recruited to find and destroy "Alpha O," a new weapon created by Nirmata intended to destroy NOMAD and save AI; he is needed because there is evidence Maya may still be alive and involved, and his success could grant her immunity and their reunion.
The film is riddled with mythic tropes and themes, which are best in this kind of speculative genre. Salvific hope (for either side of the conflict) rears its head in the form of an adorable, childlike character who could also be damningly dangerous for humanity. The longsuffering, world-weary protagonist becomes a sort of obligatory, reluctant father figure to the child. The protagonist is also drawn into a journey into a Heart of Darkness, if you will, which indicates its own literary history, though some of the strikes and general chaos on the ground in civilian villages seems meant to visually reference Apocalypse Now and the Vietnam War in general. As for other references, I was reminded of Aliens or Avatar in the characterizations of the tough and merciless US military officials (who include Allison Janney and Ralph Ineson).
The film's odd use of AI, in light of the recent writers' strike and ongoing performers' strike, will garner some criticism, and rightfully so. Much like Ex Machina, the film refuses to really make a point so much as open up the dialogue and try to foster better understanding while underscoring everything with a palpable sense of dread and consequence. Regardless where you come down on the "debate" of AI, there will be long-lasting and potentially deadly fallout, so to speak. But Edwards is too savvy to remain fully aloof, choosing instead to embrace aesthetics over philosophy. He uses music to chilling effect, perhaps the best moment being Radiohead's "Everything in Its Right Place" during a haunting twilight raid on the compound believed to house Alpha O. And by the end, when Joshua risks his life on an absolute gamble of a massive climax, my heart was lodged in my throat, even though I wasn't completely sold on all the inferences and ideas whirling around. Edwards and his team sold me on the story, the characters, the visuals, and the ideas enough by that point that I was ready to embrace this utterly fresh and beautifully rendered vision for all its worth.
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