“The Creator” is a monumental science-fiction epic directed by the filmmaker behind “Godzilla” and “Rogue One: A Star Wars Story.” Shot in six countries and featuring over 1,000 visual effects shots, one might wonder what could be achieved with a seemingly modest budget of $80 million, especially considering that even massive studio productions beyond the $250 million mark have often struggled to deliver anything more than mediocre CGI spectacle.
Yet, Gareth Edwards, the director and co-writer, made a name for himself at the beginning of his career with a groundbreaking indie production – “Monsters.” Set in a world inhabited by colossal alien creatures, “Monsters” was filmed guerrilla-style in Mexico with a crew of just seven people, including the two lead actors, a translator, and a driver. Edwards then created over 250 visual effects on his laptop. If he could craft a modern genre classic from a meager $500,000, what could he possibly achieve with $80 million? The expectations must be sky-high.
In a post-apocalyptic world where Los Angeles has been obliterated by a nuclear explosion, an intense conflict rages between the Western world and the Artificial Intelligences (AIs). These AIs once served humanity but turned against their creators with the devastating nuclear strike. Now, the AI beings have retreated to Asia, where they enjoy the support of the local government and population. However, this doesn’t deter the USA from relentlessly pursuing them, employing the trillion-dollar space station NOMAD, capable of launching devastating missile strikes almost anywhere on the planet.
The enigmatic AI architect, NIRMATA, is believed to have created a highly secretive weapon called Alpha-O designed to destroy NOMAD. General Andrews (Ralph Ineson) and his right-hand woman, Colonel Howell (Allison Janney), hire ex-agent Joshua (John David Washington) to locate Alpha-O. Joshua, disillusioned since losing his wife Maya (Gemma Chan) during an undercover mission five years ago, is the ideal candidate due to his extensive knowledge of the AI domain. However, he finds an unexpected surprise on the mission: the destructive AI weapon resembles a young girl, whom Joshua names Alphie (Madeleine Yuna Voyles)…
Far more than a mere stopgap for “Dune 2,” “The Creator” emerges as a wholly original sci-fi vision deserving a place in the genre’s pantheon. Gareth Edwards returns to his roots in two significant ways, following his mega-blockbusters “Godzilla” and “Rogue One.”
Similar to his approach with “Monsters” in Mexico, Edwards filmed on-location in Nepal, Thailand, Vietnam, Cambodia, Indonesia, and Japan. Although a larger team, including Industrial Light And Magic’s effects artists, supported him this time, Edwards, operating the camera himself, worked with only an assistant, a sound specialist, and a lighting technician. The computer-generated effects seamlessly integrate into these location shots, delivering convincingly authentic and often hauntingly beautiful visuals, such as NOMAD missiles illuminating a nighttime rice field.
As with “Monsters,” the effects never overshadow the narrative. “The Creator” introduces us to several (metropolitan) cities with futuristic designs that feel instantly believable and plausible, even though Edwards doesn’t draw excessive attention to them. Such a fully realized world, one that seems to exist beyond the film’s borders, can only be created when everything stems from a singular vision. After “The Creator,” the creators behind the multimillion-dollar effects pipelines of Marvel, DC, and even “Star Wars” have no more excuses for subpar CGI animations. Apparently, it’s not just about the money.
In terms of the story, “The Creator” relies on the tried-and-true plot of the hunt for a chosen child, coveted by all parties for their own purposes. It’s not the most original premise, and many of the twists are foreseeable. However, newcomer Madeleine Yuna Voyles in the role of Alphie is a revelation, and Edwards and co-writer Chris Weitz (“About A Boy”) compensate with numerous small, inventive ideas. Most notably, a kamikaze robot employed by the U.S. military stands out – with its barrel-like shape, it appears oddly quirky, almost cute, yet it’s created for a single, gruesome purpose.
Edwards has described “The Creator” as “‘Apocalypse Now’ meets ‘Blade Runner’,” and it’s not hard to discern a fierce indictment of Western, especially U.S., war policy, particularly in Vietnam. When thousands of AI robots are crushed by a massive scrap press, and some appear to be “alive” and struggling to crawl out, it’s difficult not to think of historical mass grave imagery. The American military shows no mercy, even threatening to execute a puppy to extract information from a young girl.
While the film effectively serves as an indictment of Western warmongering, it lacks nuance due to its absence of moral ambiguity. However, it remains a potent critique, especially given Edwards’ unflinching portrayal of violence against the AIs.
The Review
The Creator
A Director's Return to Roots Creates a Visually Stunning and Thought-Provoking Sci-Fi Epic
Review Breakdown
-
The Creator