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Yeah, yeah, we know. "Avengers: Age Of Ultron" sequel took its expected gigantic chomp out of this weekend's box office. But we're not here to talk about that. Instead, on our latest podcast, we discuss a film that is quietly becoming a sleeper sensation: "Ex Machina." But no matter, because there's so much to discuss with Alex Garland's directorial debut, and, with its modestly successful expansion onto more than 1200 screens across the Us last week, we thought it was well worth our time (and yours, dear reader) to dive into the film and discuss it in depth, as well as Garland's career so far. Ever since Oli Lyttelton's rave A grade review back in January (when it opened in the UK), where he called it the "first great film of 2015," we've been singing the praises for "Ex Machina." On this episode, I'm joined by Joe Von Appen, my co-host on another film podcast, »
- Erik McClanahan
“As long as she thinks of a man, nobody objects to a woman thinking.” ― Virginia Woolf, Orlando There are two roads into Alex Garland’s »
- Sasha Stone
This weekend you have a choice, a choice between two films featuring an artificially intelligent being. The first choice is movie that's going to make $220+ million dollars, shatter box office records and end up one of the highest grossing movies of all-time, both domestically and internationally. The other is the best movie of 2015 so far and likely to be one of the best movies of the year once December 31 rolls around. Of course option #1 is Avengers: Age of Ultron, a movie that's not going anywhere for some time so if you miss it this weekend you aren't missing anything because you'll be able to see it next weekend, the weekend after that and most likely at some point over the next three months. The other option is the movie you'll be kicking yourself if you wait to see it... Ex Machina and it won't have nearly the longevity in theaters as Avengers. »
- Brad Brevet
You've got to hand it A24 for keeping "Ex Machina" in the conversation. The sci-fi flick has done very well in limited release so far, riding a wave of critical buzz, which has turned into genre fan anticipation. With the movie expanding, they've cut another new trailer, in case you're just arriving to it for the first time. To recap, the movie finds a dorky super nerd (Domhnall Gleeson) summoned to the estate of his dorky, eccentric boss (Oscar Isaac) to check out his latest creation — an unbelievable piece of AI named Eva (Alicia Vikander). But that's just the start of a tale where nothing is as it seems. If that's not enough to get you up and out of the house to see this thing, two of the actors will be in "Star Wars: The Force Awakens." Make the right choice folks... Read More: Alex Garland's Gripping, Brilliant, »
- Kevin Jagernauth
This weekend, Avengers: Age of Ultron will break the all-time opening record, which its predecessor set back in 2012 at $207.4 million. To end the suspence, $222.6 million is my prediction, and my reasons are simple. First, sequel bump. Second, it's selling pre-order tickets (per Fandango.com) faster than both Iron Man 3 and the original Avengers. The box office is ready to explode, summer season is beckoning, and this thing is going to launch like a space shuttle. The only thing that might cause it to miss this number is the running time, but the first one was long too, and theaters will have it playing on two or three screens. Let's quickly run through the rest of these because they are very small fry by comparison. Furious 7 will put another $9.7 million in the bank. It's had a great run, the first billion dollar film in the franchise, and a massive »
- Laremy Legel
New York - Matthias Schoenaerts is best known for his roles in the acclaimed French drama "Rust and Bone" alongside Marion Cotillard and in last September's thriller "The Drop" opposite Tom Hardy, but the Belgian actor has spent a good chunk of the past 18 months shooting a number of period pieces with Oscar friendly actors. The first, "A Little Chaos" with Kate Winslet, debuted at the 2015 Toronto Film Festival to not so great reviews. The second, "Suite Française" with Michele Williams, has already opened to mixed reviews in most of Europe and there currently is no U.S. release date. The third, "Far From The Madding Crowd," which finds him romancing Carey Mulligan, has earned mostly positive notices so far and opens in limited release Friday. Adapted from Thomas Hardy's classic novel, "Madding" centers on Bathsheba Everdene (Mulligan), a young woman who inherits a struggling family farm in the »
- Gregory Ellwood
If you haven’t seen “Ex Machina” yet, then you’re not doing 2015 right. This dazzling, morosely funny power play between a modern-day Dr. Frankenstein, his creation and the unwitting pawn in the story’s sinister game of chess is the one to beat as far as films released so far this year. Directed by screenwriter/novelist Alex Garland —who has explored similar thematic material in pictures like Mark Romanek’s “Never Let Me Go”— owes a degree of its success to its cinematic forebears like David Cronenberg, and specifically the film’s spartan, three-character narrative, claustrophobic air of dread and sexual menace bring to mind the early pictures of Roman Polanski. And yet “Ex Machina” is a true original, if for nothing else due to giving us the year’s most unforgettable dance sequence featuring Oscar Isaac. Garland’s film works simultaneously as a crackerjack genre exercise, an alluringly »
- Nicholas Laskin
(What is on display here: intelligence, artificial intelligence, or just artifice?) Last week Ex Machina got a wide release in the United States. The previous two weeks it had been in a hugely successful limited release already, scoring the highest per-screen average of 2015 so far (its box office equaled over 80,000 dollar for each screen in its first week). A bit earlier, it also won the audience award at the Imagine Film Festival Amsterdam. Combined with an IMDb-rating of 8.1, and a Rotten Tomatoes score of 90% fresh, it's an understatement to say that Alex Garland's first film as a director is doing fine for itself! Still, it's interesting to see just how different people's opinions are on Ex Machina. Some praise its...
[Read the whole post on twitchfilm.com...]
The science-fiction genre can be a hard one to embrace. As screenwriter and director Alex Garland can teach us, it is more important for the characters and ideas to resonate with the audience than the groundbreaking visual effects. Garland wrote a variety of acclaimed sci-fi films, including the zombie thriller 28 Days Later, the Kazuo Ishiguro adaptation Never Let Me Go and recent cult favorite Dredd. In all of those titles, plus his newest film – the brainy sci-fi thriller, Ex Machina – the characters trump the concept.
Ex Machina has been one of the year’s biggest art-house successes, after two weeks in limited release. It tells the story of Caleb (Domhnall Gleeson), a tech programmer who gets the chance to test out the new work of reclusive genius and company figurehead Nathan (Oscar Isaac). That new creation is a female A.I. named Ava (Alicia Vikander), which soon proves to be more than it seems. »
- Jordan Adler
For the fourth straight weekend, the newest entry in the Fast & Furious franchise, James Wan’s Furious 7, took the top spot at the box office, adding another $18.3 million to its total earnings so far to bring its total domestic earnings to over $320 million, over 1.5 times that of 2015’s second highest domestic earner to date, Kenneth Branagh’s Cinderella. The film was joined in the top three by a repeat performer and a new entry, as the Kevin James-starring Paul Blart: Mall Cop 2 remained steady in second place with a total of $15.5 million. Rounding out the top three, however, was the Blake Lively-Ellen Burstyn starring The Age of Adaline, which garnered the third spot with $13.4 million in its opening weekend.
Among the rest of the box office, the horror feature Unfriended saw the biggest revenue decrease, dropping over 60% from its opening weekend gross to land in fifth place with $6.2 million. »
- Deepayan Sengupta
A lot of noise has been made this year over how fans of Science Fiction should go see some of the larger studio-produced Sci-Fi flicks like Jupiter Ascending and Chappie if they want to see more "original" science fiction films in theaters in the future. The idea was that it didn’t matter if Jupiter Ascending and Chappie were quite disappointing efforts, and they were, they deserved your money if you ever wanted more films like them. It’s an argument equivalent to a hostage situation, and it was ridiculous. You shouldn’t support bad films in the hopes that the studio will throw some good ones your way down the road. Instead, you should pay to see excellent movies like Alex Garland’s Ex Machina, because doing so will be rewarding for you - and it will be. Plus, you get to see one of the more beautifully filmed »
- Lex Walker
Furious 7 has remained top of the Us box office for yet another week.
Home stays at four with $8.3m, while online horror Unfriended rounds out the top five with $6.2m.
Alex Garland's Ex Machina is a surprise riser, moving up from number fifteen to six with $5.4m.
The Us weekend box office Top 10 for April 17-19 (studio estimates, »
Avengers: Age of Ultron hit theaters overseas this weekend and apparently bootleg copies are already hitting the Internet, but that won't stop it from becoming a monster release next Friday, putting an end to the box office domination of Furious 7. However, Furious 7 still had more than enough gas in its tank to take the #1 spot at the box office for the fourth weekend in a row, adding $18.2 million, bringing its domestic cume to $320.5 million while its worldwide total now sits at $1.32 billion. That worldwide total is enough to place Furious 7 in fifth all-time worldwide (and only third film ever to cross $1 billion internationally) just behind Harry Potter and the Deathly Hallows - Part 2 ($1.34 billion). However, it has passed the Potter feature in foreign dollars and is now the third highest grossing international release of all-time, behind only Avatar and Titanic. As Forbes' Scott Mendelson puts it, "So yes, »
- Brad Brevet
Man’s ambitions to play God are enduring and timeless. Alex Garland’s Ex Machina transposes this concept—the urges to dominate and control technology, nature, and women—into a sci-fi narrative about Nathan (Oscar Isaac), a seemingly narcissistic (or is he?), reclusive genius who creates what he hopes is the first true A.I., a robot with real consciousness,…
The post Review: Ex Machina, The Dangerous Desire to Possess Woman appeared first on Shock Till You Drop. »
- Samuel Zimmerman
Alex Garland’s résumé reads like a laundry list of recent sci-fi and horror cult hits, with screenplay credits including 28 Days Later (2002), Sunshine (2007), and Dredd (2012). His latest, Ex Machina, may stand to follow that same path of cult adoration – although hopefully for Garland, its box office will follow more in the footsteps of 28 Days Later than those of Dredd. The sparse, character-driven sci-fi film follows Caleb (Domhnall Gleeson), an office drone at a major tech company who wins the opportunity to spend a week at the secluded home of his employer, Nathan (Oscar Isaac). Caleb discovers Nathan has recruited him to test the behavior of an android, Ava (Alicia Vikander), that Nathan has developed. As Nathan begins to display a more megalomaniacal side and Ava proves even more emotionally developed than expected, Caleb’s big week with the boss starts to slide unsettlingly south.
Director Garland made his first big »
- Patrick Dunn
Ex Machina, 2015.
Written and Directed by Alex Garland.
A young programmer is selected to participate in a breakthrough experiment in artificial intelligence by evaluating the human qualities of a breathtaking female A.I.
Desire, lust, and love are undoubtedly some of the strongest emotions that humans come equipped with, but can artificial intelligence become so sentient that it can experience those feelings too? Ex Machina (the directorial debut from Alex Garland, writer of 28 Days Later and Sunshine) asks this and many more bold questions that raise so many provocative thoughts about the society we live in today, that it is hard not to call this one of the most intelligent and thought-provoking sci-fi thrillers of the current generation. You could probably go one step further and argue that it is one of the most original films ever made.
- Robert Kojder
Now that we’ve had time to process Ex Machina, it’s easy to recognize that we haven’t had enough time to fully process Ex Machina. However, we’re going to dive into the deep end of its concepts, philosophies and plot devices with writer/director Alex Garland. We’ll also discuss the game theory of misdirecting your audience and compare the isolation of Ex Machina to Garland’s other scripts. Plus, with Geoff still on assignment, we’re pleased to have author and screenwriter Jason Arnopp fill in as guest-host for a conversation about what horror and sci-fi have in common. You should follow Jason (@jasonarnopp), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis. Download Episode #94 Directly Or subscribe through iTunes On This Week’s Show: Nowhere To Hide [0:00 – 1:00] Science Fiction Horror Show aka Robot Of Death [1:00 – 26:45] From The Machine, God »
- Scott Beggs
It really will be a terrifying end to the world it when artificially intelligent machines choose to rise up and take us over. Until that day, though, we'll have to make due with films like Ex Machina to keep us up late at night staring at our computer while wondering, "Is it watching me back?" Alex Garland, screenwriter of some of the best modern sci-fi has to offer, makes his directorial debut with this terrifying, futuristic thriller that puts the fear of A.I. into you in ways you never even imagined. Intelligent, sleek, and with a small, thermal charge of a cast, Ex Machina is a can't-miss, future classic work of science fiction. That small, thermal charge of a cast begins with Domhnall Gleeson as Caleb, a computer programmer for a social networking site - the future's hottest social, networking site, mind you - who wins a trip to »
- Jeremy Kirk
Ex Machina may not be quite as profound an “ideas” movie as writer-director Alex Garland thinks it is, but I’m willing to cut it some slack for at least taking the shot. Garland’s film is intimate and intensely character-driven, with essentially only three main characters bouncing off each other in a very confined space. The film raises some interesting questions about human emotion, our desire to control it and what happens when we get that control. But most importantly it’s a science-fiction movie, given a wide release and starring some notable actors. It’s refreshing to see a mainstream sci-fi flick that doesn’t follow Hollywood’s Star Wars-on-crack approach, throwing as much money as possible at creating as many explosions and spaceships and eye-popping creatures as possible. For that reason it’s easier to forgive Ex Machina’s shortcomings and celebrate its many strengths.
- Patrick Dunn
It’s hard to find smart, thought-provoking science fiction stories these days, with current trends dictating bigger is better. Writer-Director Alex Garland’s Ex MacHina is small-scale, slow-paced, and breaks no new ground in terms of ideas. Yet thanks to a terrific script, exceptional characterizations, and one super-sexy robot, it’s the best new science fiction film I’ve seen since Under The Skin. Like Garland’s earlier scripts, which gave us fresh takes on the zombie genre (28 Days Later) and the space-flight-to-save-the-earth genre (Sunshine), Ex MacHina takes a familiar sci-fi concept, in this case the replication of human presence via artificial means, and makes it new.
Ex MacHina tells the story of Caleb (geeky Domhnall Gleeson from Unbreakable), a low-ranking worker bee at Bluebook, the world’s “biggest internet search engine”. The film opens with him winning an in-company competition for the opportunity to spend a week at the »
- Tom Stockman
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