This new 'artificial intelligence/robot' sci fi from THE BEACH author Alex Garland (his directorial debut) looks bloody brilliant -- channeling the photography of Kaminski's A.I. and potentially having lots of interesting 'isolation drama' suspense.
The score is by Geoff Barrow of Portishead and composer Ben Salisbury. Also a very interesting choice, although I'm not sure if the Cliff Martinez-like music in the trailer is theirs.
This new 'artificial intelligence/robot' sci fi from THE BEACH author Alex Garland (his directorial debut) looks bloody brilliant -- channeling the photography of Kaminski's A.I. and potentially having lots of interesting 'isolation drama' suspense.
The score is by Geoff Barrow of Portishead and composer Ben Salisbury. Also a very interesting choice, although I'm not sure if the Cliff Martinez-like music in the trailer is theirs.
Check out the trailer here:
Anyone else excited about this?
The music in trailer is from John Murphy's ANO album. I was kinda hoping he'd do the score. Trailer looks very promising and I love Garland's work, should be very interesting!
Just came back from an early press screening of the movie. Wow, it's my favourite of the year so far -- even in front of the fantastic horror film IT FOLLOWS. Lots of audiovisual goodies (including gorgeous scenery from Norway!), stimulating dialogues, wonderful acting and lots of philosophical ideas. AND a wonderful score -- ranging from the noisy and terror-inducing to beautiful electronic textures.
While I was hoping Paul Leonard-Morgan might score this, these composers sound interesting together, I've always dug Portishead...really looking forward to this score, thanks for bringing it to my attention!
This film already played in UK cinemas back in January. Not sure how it did at the box-office. The film offers some neat/clever ideas about A.I and self preservation, but it's somewhat 'pervy' nature leaves a bitter aftertaste. It all looks very sleek and expensive though, for a low-budget(ish) film.
Pervy? Afraid I don't see that part of it. In fact, the attraction that is felt towards the A.I. is part of the film's greatest strengths. I thought the disappointing HER was far more 'pervy' that way.
"Pervy? Afraid I don't see that part of it" ---------------------- The main maker guy had cupboards full of used/abused sex-bots and the main girl walked around with the pivotal (pervotal?) parts on show (butt/breast plates). It all seemed a bit pervy to me.
"Pervy? Afraid I don't see that part of it" ---------------------- The main maker guy had cupboards full of used/abused sex-bots and the main girl walked around with the pivotal (pervotal?) parts on show (butt/breast plates). It all seemed a bit pervy to me.
Yes, it's part of the film's brilliance. Brushing off it as 'pervy' kinda misses the point, however. One of its core themes is about sexuality and attraction in relation to artificial intelligence -- or a robot if you will. It's a very philosophical film. Brushing it off as pervy is kinda like when some people only obsessed about Scarlet Johansson's naked butt in UNDER THE SKIN. Hardly the point of the film, its style and what it wanted to say.
Totally agree with you re UNDER THE SKIN (which never came off as 'pervy' to me at all), but I felt (S)ex Machina was too much about titilation while pondering all the other aspects. One mans Carry On Sex Bots is another mans A.I.
Of course I've seen it. Why/How else could I pass such opinion on it...or does my alternate view to yours somehow invalidate me?
No, no....I just thought I gleaned from your posts that you were going by pre-release buzz, trailers etc. Your opinion is no less or more valid than mine!
I wish you could all read Norwegian; or use Google translate to get something intelligible out of it, because then you could have read my article on the film here:
I really can't say enough times what a fantastic masterpiece this is, unquestionably one of the most impressive directorial debuts we've seen in many, many years. Without hesitation the best film of the year (so far).
If it comes to your neighbourhood, go and see it immediately.
The score should be out now, btw, on Invada Records.
This is my type of sf: a tense & thoughtful 3-character (along with one stunning silent character) drama, one that could be performed on stage as it's all about ideas, not mind-numbing action. But, of course, you would miss out on the cool visual beauty of Garland's film (I do hope the people in the production design guilds don't forget this movie come early next year) and Barrow & Salisbury's unnerving score. (I wish though that the bell-like theme for Ava didn't come so close to the famous CE3K 5-note theme.)
Oscar Isaac (this guy continues to amaze me - hard to believe this is the actor who just played the fastidious Abel Morales in A Most Violent Year and, two years ago, the sardonic Llewyn Davis - and next will be starring in the new Star Wars. Whew!), Domhnall Gleeson (who really comes into his own as a film star in this. For the first time, I never once thought of his pop Brendan.), and the Swedish actress Alicia Vikander (already award-nominated for her beautiful and subtle work here) are a terrific trio of actors to be trapped with in a sterile research facility for two hours.
Today I received the 2CD from Invada. Really interesting score. I saw the movie last week and liked it a lot, thought provoking. I was into Tangerine Dream in the 1970-s and there are echoes of that in the score. I think the music suits the images and theme of A.I.well. Atmospheric but not musical wallpaper, it creeps under your skin. Nice souvenir album, also available in vinyl soon, but I'm a CD guy.
