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Alex Gardand’s tale of artificial intelligence generated 6,659 comments from Jan 22-28 across social media, news, forums and blogs, according to Way To Blue.
However, while Ex Machina saw 23.5% of comments expressing intent to view, Kingsman managed 26.8%.
Of the movies coming soon, Aardman Animations’ Shaun the Sheep Movie drew 2,450 comments, beating »
- firstname.lastname@example.org (Michael Rosser)
2015 could very well be the year of Artificial Intelligence. Avengers: Age Of Ultron sees Earth’s mightiest heroes take on the sub-titular machine, while Star Wars: The Force Awakens will not only welcome back R2-D2 and C-3Po, but also introduce rollerball droid Bb-8.
But as great as those guys will undoubtably be, it’s unlikely they’ll best Ava, Ex Machina’s robot femme fatale. Brought to life by Alicia Vikander (who, along with Testament Of Youth and The Man From U.N.C.L.E. is set to have quite a year) and an incredibly human script by writer-director Alex Garland, she’s a complex and engaging character whom the question of genuine intelligence in place of intricate programming looms over throughout.
- Alex Leadbeater
It's a directorial double-header this week, with Ex Machina's Alex Garland and Inherent Vice's Paul Thomas Anderson on the show to talk about their respective movies and a hell of a lot more (think, um, baths). Also, a franchise discussion bonanza - the question being: is anything sacred?P.S. You can check out our podcast photo gallery here and subscribe to the Empire Podcast via our iTunes page or this handy RSS feed. You can subscribe to the magazine here if you like it in paper form, or here if you prefer things digitally. »
At the moment, cinema seems to have artificial intelligence on the brain. Later this year, Alex Garland will pull the curtain off "Ex Machina," but he's not the only one presenting a tale where technology and humanity come together. At the Santa Barbara International Film Festival, director Matthew Leutwyler will premiere "Uncanny," and today we have an exclusive clip from the film. Starring Mark Webber, David Clayton Rogers, Rainn Wilson, and Lucy Griffiths, the film follows David Kressen, a roboticist who seems to have created the world's first "perfect" artificial intelligence, which he names Adam. But soon enough, it starts to exhibit startling and strange behavior. In this clip, we see some of what Adam can do, as technology reporter, Joy Andrews, learns about its many special and distinct qualities, from athletics to intellect. "Uncanny" will have its first screening at Sbiff on Saturday, January 31st at 7 Pm, at Metro »
- Kevin Jagernauth
UK box office top ten and analysis for the weekend of Friday 23rd to Sunday 25th January 2015…
After losing out on top spot during its opening weekend, Clint Eastwood’s box office juggernaut American Sniper has climbed to the top of the UK box office at the second attempt, dethroning Taken 3 with a solid £2.54 million.
Three new releases managed to crack the top ten this week, with Alex Garland’s directorial debut, the sci-fi Ex Machina, pulling in £1,093,952 to take fifth place, followed by Johnny Depp’s latest flop Mortdecai in seventh with £484,878 and the Mark Wahlberg-headlined The Gambler in eighth with £380,113.
Number one this time last year: The Wolf of Wall Street
1. American Sniper – £2,539,534 weekend (2 weeks)
2. Taken 3 – £1,809,724 weekend (3 weeks)
3. The Theory of Everything – £1,588,737 weekend (4 weeks)
4. Into the Woods – £1,347,845 weekend (3 weeks)
5. Ex Machina – £1,093,952 weekend (New)
6. Paddington – £748,628 weekend (9 weeks)
7. Mortdecai – £484,878 weekend (New)
8. The Gambler – £381,554 weekend (New)
9. Birdman – £380,113 weekend (4 weeks)
10. Whiplash – £376,485 weekend (2 weeks)
- Gary Collinson
2Nd Update, Tuesday 4 Am Pt: Actuals are in for the international weekend with no major discrepancies save for a big drop on Taken 3. After Sunday’s report of a $57.2M total in non-Fox markets, the confirmed total came in at $39.8M. The difference was down to an incorrect cume provided to Fox by EuropaCorp for those territories. The overseas total is now a corrected $134M. In new pics, both JLo-starrer The Boy Next Door and Johnny Depp’s Mortdecai saw small bumps (up a respective $23K and $70K). American Sniper reloaded to $18M from a previously projected $17.6M.
Updated below are final numbers on those films along with: The Hobbit: The Battle Of The Five Armies, Night At The Museum: Secret Of The Tomb, Penguins Of Madagascar, The Theory Of Everything, Unbroken, Seventh Son, Exodus: Gods And Kings, Into The Woods, Ouija, The Imitation Game, Birdman, Ex Machina, »
- Nancy Tartaglione
The Flickering Myth Podcast takes the Turing Test…
On this edition of the Flickering Myth Podcast, Luke Owen, Rohan Morbey and Scott Davis sit down to discuss Alex Garland’s Ex Machina and give their thoughts on his directorial debut. Read Luke Owen’s ★★★ review here.
Ex MacHina is an intense psychological thriller in which Caleb (Domhnall Gleeson), a 24 year old coder at the world’s largest internet company, wins a competition to spend a week at a retreat belonging to the company’s reclusive CEO, Nathan (Oscar Isaac). But when Caleb arrives he finds that he will have to participate in a fascinating experiment with the world’s first true artificial intelligence, housed in the body of a beautiful robot woman, Ava (Alicia Vikander). Truths, emotions and motives are blurred as the relationship between Caleb, Ava and Nathan intensifies.
You can subscribe to the Flickering Myth Podcast via iTunes, »
- Luke Owen
It’s rare these days to find a sci-fi that doesn’t bog you down in condescending exposition for the first half an hour, boring you senseless with background and character history to the point that you’re unlikely to care all that much when the story proper kicks in. Last year’s Lucy was a prime example of this: the movie kept explaining its ridiculous plot to you despite the fact that no-one’s ever gone into a Luc Besson movie expecting complex, intelligent storytelling. 2014′s other sci-fi starring Scarlett Johansson, Under The Skin, however, is a masterclass in understatement and trusting the audience to comprehend the story without it being spoon-fed to them.
I say all this because, thankfully, Ex Machina is much closer to the latter than the former in its storytelling. Though there is a lot more dialogue. »
- Mark Allen
★★★★☆ The very best science fiction serves as a barometer of the times, a tool with which to gauge the concerns of our age. In Ex Machina (2015), the impressive directorial debut of genre polymath Alex Garland, our great contemporary technological fear is internalised then cast into the future's void. The consequences of The Age of Information – from Google to Snowden – are taken as given and next steps are considered. It is a film about human possibilities and digital anxieties, positing technological innovation as an endless cycle. The science changes, but the moral narratives stays the same; Garland confronts the technological zeitgeist of our day, but considers it within the tradition of late 20th century sci-fi.
- CineVue UK
The actor, who plays Nathan in the sci-fi film, performs the dance routine alongside a robot he has invented.
Ex Machina review: A sharp and exhilarating sci-fi horror
When Caleb arrives to begin work on Nathan's experiment, he is tasked with evaluating the consciousness of Ava (Alicia Vikander), an incredibly advanced AI.
Garland was inspired to write about consciousness and robotics by a debate he had with a friend, whose main interest was in neurology.
Ex Machina is out now in UK cinemas, and will be released in the Us on April 10.
Watch the trailer for Ex Machina below: »
Guest host Paul MacInnes joins Catherine Shoard and Peter Bradshaw to review this week's big releases. On the conveyor belt this week, Alex Garland's robot romance, Ex Machina, the other Oscar Isaac movie out this week, A Most Violent Year, Mark Wahlberg's turn as a literature lecturer in The Gambler and Johnny Depp's reportedly terrible 'tache comedy, Mortdecai
- Catherine Shoard, Peter Bradshaw, Paul MacInnes, Paul Frankl, Joan Portillo and Mona Mahmood
There’s nothing fresh or even usefully true in its cartoonish dichotomy about men, but this pseudo-sf flick will expound upon it with pretentious tedium. I’m “biast” (pro): I’m a big science fiction geek
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
There’s a moment, Ex Machina’s big visual smack in the face, in which writer-director Alex Garland, probably unwittingly, reveals his hand. It’s imagery that, I would be utterly unsurprised to learn, was something that popped into his head disconnected from anything else, imagery he deemed so cool, so you-guys-gotta-see-this!, that he set himself then and there to building a story around it. I’m not, of course, going to spoil what this moment consists of, but suffice to say that it could have just as readily been slotted into a story about a serial killer. »
- MaryAnn Johanson
Director: Alex Garland
Running Times: 108 minutes
Synopis: Caleb (Gleeson), a computer coder, wins a work lottery. The prize? A week with company head, and recluse, Nathan (Isaac) who wants him to test his latest invention, an embodied artificial intelligence known as Ava (Vikander).
2015 film has started off strong, The Theroy Of Everything, and Birdman have had audiences captivated since their New Year’s Day release, and now in week four comes another spark of brilliance from EX_MACHINA. Finally amongst all the remakes and reboots, sequels and prequels, comes a truly original story. Written by Alex Garland, the scribe responsible for 28 Days Later, Sunshine. The Beach and Dredd, EX_MACHINA is a beautifully thought-out tense philosophical thriller that will keep the grey-matter engaged for the duration. The title is clearly inspired by the latin phrase ‘Deus Ex Machina’ which translates roughly to »
- Kat Smith
Alex Garland's taut, tense directorial debut Ex Machina is many things: it's a claustrophobic thriller, a high-concept science fiction story, a character-driven chamber play, an exploration of the possibilities of artificial intelligence and a treatise on human consciousness.
It's also breathlessly entertaining, representing a very smooth transition to directing for veteran writer-producer Garland, whose past CV highlights include Danny Boyle's Sunshine, Kazuo Ishiguro adaptation Never Let Me Go and 2012's good-against-the-odds Dredd reboot.
The film is essentially a three-hander - with another key character coming into play later on - centred on everyman programmer Caleb (Domhnall Gleeson), who is selected to take part in a groundbreaking artificial intelligence experiment. The AI in question is Ava (Alicia Vikander), created by the reclusive Nathan (Oscar Isaac) to be the world's first genuinely conscious machine.
Digital Spy sat down with Garland, Vikander and Gleeson to discuss how Ex Machina came to be, »
Alex Garland’s AI thriller feels a bit like a decent short story bulked out to movie length, but it’s done with confidence
Screenwriter and novelist Alex Garland upgrades to full auteur status, directing his own original script. It’s a futurist thriller with classic generic antecedents, all about artificial intelligence becoming creepily indistinguishable from the human kind. Ex Machina feels like an elegant Sf short story with a droll twist that has been pumped up and sexed up into an over-bulky feature film. But it’s managed with confidence.
Domhnall Gleeson is Caleb, the geeky coder working for a software giant called Bluebook (like Google, but bigger and more important); imagine Caleb’s excitement and fear when he wins an in-house competition to spend a week alone with the firm’s reclusive, scarily Kurtzian founder, Nathan (bullishly played by Oscar Isaac), in his gigantic fortress of solitude on »
- Peter Bradshaw
After providing scripts for the likes of 28 Days Later, Sunshine, and Dredd, novelist Alex Garland is adding director to his resume with Ex Machina, a stylish sci-fi thriller which tackles some well worn ideas in an extremely smart and creepy way. Almost a year before they the screen with Star Wars: The Force Awakens, Domhnail Gleeson and Oscar Isacc team up as Caleb, a coder working for major search engine Bluebook, and Nathan, the reclusive CEO of the company. Summoned to Nathan's remote mountain home under the pretense of winning the staff lottery to spend a week with the boss, Caleb soon discovers he has been chosen as the human component in a Turing test to establish if a computer, in this case A.I. robot Ava (Alicia Vikander), can pass as a human being. What follows is a week of tests where it becomes increasingly harder for Caleb to figure out who, »
- email@example.com (Tom White)
Discussing his directorial debut with Digital Spy, Garland explained that as a rule he never has any desire to go back to a film's world once it is complete.
"I actually find it quite hard to imagine going back to any story I've worked on in the past, personally," he said.
"I worked on 28 Days Later... and then there was a sequel to it and broadly speaking that was made by another group of people, and I didn't really personally want to be too involved.
"If you live with something for two years and you work on it very intensely - and making film is certainly, if nothing else, intense - then you sort of think, 'Enough!'
"I can't believe people who work on these things for 10 years, or 15 years. I mean it's fine, they can do what they want, »
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.
28 Days Later and Sunshine‘s Alex Garland moves from the writer’s desk to the director’s chair with his debut effort Ex Machina. Garland shows his ability to pen a believable science fiction tale, while still showing off directorial flair with a beautiful and claustrophobic style. Sadly though, outside of one or two moments, Ex Machina‘s whole isn’t as good as the sum of its parts. Like Ava herself, Ex Machina doesn’t feel complete.
Garland has made a smart play by taking on a small production for his first endeavour. Rather than hire a cast of a dozen characters with multiple locations, Ex Machina »
- Luke Owen
Oscar Isaac has been a very busy boy. After he wrapped J.J. Abrams' Star Wars: The Force Awakens he went straight into doing press for J.C. Chandor's A Most Violent Year and Alex Garland's Ex-Machina. When he is done that he will go into pre-production for his titular villain role in Bryan Singer's X-Men: Apocalypse. “After we finish here I’m heading to do a head cast [for ‘X-Men: Apocalypse’], which they do often," Isaac tells Yahoo Movies. "You spend 3-4 hours with them putting plaster all over your head and they get a sense of what your face is like and what shape your head is, so they can start figuring out the costume and the make up and all that stuff, which is pretty fun.” Isaac also offered some tantalizing details about his costume. “It’ll be a mix [of practical and digital]," Isaac said. "I haven’t had a »
Alex Garland made his name writing about humans searching for the perfect idyll. His 1996 debut novel "The Beach," about backpackers searching for an Earthly paradise, was an international bestseller and later a Danny Boyle film. He subsequently wrote two screenplays for the British director — "28 Days Later" and "Sunshine," then chased down the rights to adapt Kazuo Ishiguro’s dystopian alternative reality tale "Never Let Me Go." His reboot of "Judge Dredd" in 2012 was set in a future where mind readers and technology allow individuals to make judicial decisions. In all these works, the biggest obstacle involves flawed moral codes. With his excellent directorial debut "Ex Machina," Garland takes all the elements of these writings and breaks them down to a challenge between man and machine. The simple premise is that a computer geek is asked if he believes a machine has passed The Turing Test. (Anyone wanting an intro to. »
- Kaleem Aftab
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