‘The Creator’- Film Review: Gareth Edwards’ Original Sci-Fi is No Masterpiece, but it’s Visually Stunning

When science fiction blockbusters that aren’t based on properties already in the public domain are released in theaters, watching them not receive the respect they deserve can be difficult. It’s even more disheartening to have a fantastic idea in mind only to have your execution fall short because of the studios’ increasing lack of investment in these projects. Not that I’ve ever had the experience to think of something, but believe me, it must be hard to get it off the ground or find a specific audience. A fantastic idea can fall completely flat (In Time, Chappie, etc.) or be the opposite that gets word of mouth, but the absence of huge crowds suffers. Take The Creator, for example, as director/ co-writer Gareth Edwards brings us a unique vision that doesn’t dare to dumb down its audiences. Based on the amazing trailers, it was one of my most anticipated fall movies. Fans of the genre will find it a passable film, even though it won’t be regarded as one of the finest of the year or an instant classic—at least not by me.

What’s the Story: In the not-too-distant future, a future war between humans and artificial intelligence leads to a nuclear warhead detonating over Los Angeles. Joshua Taylor (John David Washington), a hardened ex-special forces agent working undercover, turns his world upside down when his wife Maya (Gemma Chan) is killed by a strike ordered by the space station NOMAD. After five years have passed, still grieving over his wife, the government recruits Joshua to cross enemy lines to destroy a deadly weapon from Nirmata called “Alpha O,” which has the chance to put an end to NOMAD. Joshua and his team of elite operatives journey across enemy lines, into the dark heart of AI-occupied territory only to discover the world-ending weapon he’s been instructed to destroy is an AI in the form of a six-year-old girl named Alphie (Madeleine Yuna Voyles).

It’s been a long time since Edwards made a film that fit into his background, and this is only his fourth feature film. His career began with Monsters, followed by 2014’s Godzilla, but we all remember his name from Rogue One, one of the finest installments in this current Star Wars era. Though not a big name as those who’ve been working for the past few years, he’s kept things quiet since, only hoping he has something special for a movie that holds on to its theme of continually reminding us that the relationship of humans and robots will forever be complicated. Though with a film where one of its topics is artificial intelligence, the timing couldn’t have been perfect considering the dangers of how it currently affects the Hollywood system, even when it pushes to feel more on a grounded scale.

It’s become a reality where it can be helpful on the one hand, but can be a potentially dangerous risk of what it could mean for the world. A film like this allows us to look at both sides, which isn’t bad when presenting specific ideas. Maybe Edwards wanted to make this an all-out allegory on humanity and ask if it’s possible for robots like Alphie, to go to heaven or if we will act differently to save a child who would change the future’s faith. Does it always build the momentum to land successfully? Not precisely when it felt more focused on the spectacle. He was inspired to have the world-building align with past classics such as District 9, Blade Runner, and Spielberg’s A.I. Artificial Intelligence. While The Creator carries the familiar troupes that won’t hold much originality to its name, it feels like its own thing.

Not everyone likes John David Washington, thinking he can’t act. I beg to differ. He has talent when given good material. Some of his line delivery felt weak due to the writing, but his role as Joshua is likable, and he is given a solid reason to go on this mission and protect this kid. Still, this is one of his strongest performances since BlacKkKlansman (for which he should’ve gotten an Oscar nomination), proving the naysayers he has the charisma to pull off a leading man. As far as child actors are this year alone, Madeleine Yuna Voyles as Alphie stands out when paired with Washington, and it’s hard to believe this is her first feature film. She provided a few unexpected fun moments with her humor, allowing this character to be the film’s heart. Ken Watanabe, Gemma Chan, Sturgill Simpson, and Allison Janney fill out the supporting cast. However, more could have been done to flesh out their characters, particularly Janney, who would not be expected to play a one-note villain.

From a visual perspective and what’s been the biggest draw from the marketing, it certainly makes this worth the theatrical experience to view from every frame, especially in IMAX, to consider how it could be plausible in the next decade. The visual effects make this futuristic world come to life to the design of the humans and robots themselves and look absolutely seamless, feeling like it could belong in an almost grounded Star Wars film with some excellent action sequences reminiscent of the Vietnam War that I’m shocked gained a PG-13 rating. The Creator‘s estimated $80 million price tag will surprise those who enter with little prior knowledge. And it’s incredible how much better a science fiction film with a $80 million budget looks than many of the $250 million Hollywood blockbusters from this past summer (I won’t even try to name specifics because it’s too obvious). Being nominated for an Oscar for Best Visual Effects will be the film’s biggest achievement. Furthermore, the breathtaking cinematography by Greg Fraser and Oren Soffer, shot in the 2:76:1 aspect ratio, contributes to the broad sweep of filming on location around the world to bring New Asia to life.

On a story level, it won’t hit for some people. Edwards and Chris Wentz’s script was almost too dense when trying to pick up when the plot kicked in, leaving the pace surprisingly slow, and the dialogue sounded clunky (as well as obvious dubbing). It wasn’t until Joshua knew what Alphie was that it picked up to go into a somewhat predictable ride. On an emotional level, however, you don’t always feel the emotional attachment between Joshua and Alfie, having the concern of being slightly hollow sometimes where it must’ve been the opposite on paper. Not that it needed to be on the same level as, say, Logan and X-23 or any older-younger relationship in the media, but once it reaches the end, that’s what I wanted early on. Still, many will wonder if it was too little, too late in a third act that didn’t pack that punch it needed, and it might be because it felt rushed. And though there’s a nice Radiohead needle drop I might like more than others (“Everything’s in Its Right Place”), Hans Zimmer’s score isn’t utilized too much to where I couldn’t tell who composed it; the last track is the only one I’ve been listening to ever since.

While The Creator does not attempt to break new ground for the genre and could improve its overall emotional appeal to make it more thought-provoking, those looking for an ambitious, if flawed, original sci-fi will not be disappointed, thanks mainly to Gareth Edwards and its stunning visuals. The conflicting comments are a surprise, especially given how little notice it received before its debut owing to the strikes. Still, we rarely see sci-fi on this scale.