At first glance The Creator gives the impression of being just another generic science-fiction outing that pits mankind against an artificially intelligent foe. Robots — or some variation of them — have been used as antagonists in film for as long as we can remember. While its true that The Creator doesn’t break the mold or tread new ground, the journey it takes us on is one that’s beautifully crafted and expertly designed by a filmmaker with a clear love for the genre, Gareth Edwards.
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The Creator Plot
In a future ravaged by war, the American military fights to eradicate artificially intelligent beings from the planet. The two opposing sides had once lived together in harmony, but after an atomic bomb is detonated in Los Angeles, peace is no longer an option. Joshua (John David Washington) is recruited to find and destroy a newly created weapon that the artificially intelligent opposition could use to win the war once and for all. However, Joshua begins to question his allegiance to the cause when he finds the AI weapon is in the form of a young girl (Madeleine Yuna Voyles in a fantastic break-out performance).
The Critique
The Creator is a film that is clearly influenced by the classics that have come before it. Bits of Blade Runner, Alien and Star Wars can be found sprinkled throughout — some more heavily than others. It’s not quite as good as those films; however, it’s arguably the closest attempt we’ve seen since Edwards’ last film, Rogue One.
However, it’s not only the science-fiction influences that are glaringly apparent. The idea of a strong, brooding man with a penchant for violence forming a bond with a young child is another trope that the film borrows. Stories like Lone Wolf and Cub and Logan use the inherent innocence of a child to counter the domineering and callous traits of their leads for a yin-yang dynamic. It’s this bond that allows Joshua to reflect on his past and drives the evolutionary arc of his character.
Perhaps the film’s greatest narrative strength is in the way that it successfully humanizes the robotic beings. Rather than taking a Terminator approach of a soulless killing machine made of metal, The Creator gives us cyborgs capable of expressing complex emotions and thoughts. The war becomes less a fight of good-versus-evil, and uses the complicated nature of self-preservation to deliver a more layered and nuanced story that questions morality.
Oren Soffer and Australian cinematographer Creig Fraser — who worked with Edwards previously on Rogue One — bring a level of beauty to the screen that is unparalleled. The landscapes are awe-inspiring and there’s a gorgeous element to the violence that makes for a visceral viewing experience. This — coupled with the incredible use of life-like CGI depictions — make The Creator one of the most beautiful science-fiction films of the last decade.
The most frequent critique I’ve heard among my peers, is of the film’s pacing. I will agree that the final thirty-minutes or so of the film feel rushed. The third act moves at a rapid pace, shifting from one scene to the next without giving much time to breath or fully appreciate the events unfolding. It’s a rare occasion of me actually wishing the film had been longer to avoid the break-neck speed of the climax and conclusion.
In Conclusion
Though it’s a film built off the backs of those that came before it, The Creator stands on its own through the fantastic performances of its cast, the beautiful cinematography and Edwards’ clear understanding of what makes for an engrossing science-fiction epic. It’s a film that often goes in the directions you may expect, but ensures that you will have a great experience getting there. At a time when the future of Star Wars seems rocky and confused, there may be a clear solution. Give the reigns to Gareth Edwards.
8/10
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