Dir. Alex Garland | Now Streaming On: HBOMax | Rating: 3/5

In undergrad, I remember Ex Machina being the topic of many a film lecture of my film major friends. This is probably one of the most visually and technically stunning films made in the last 20 years. Even as a casual viewer, you can’t deny the beauty of this film’s aesthetic. From sweeping scenery shots to calculated usage of light and color, it’s clear Garland knows what he’s doing. But does his storytelling live up to the hype of his aesthetic? That depends. 

Ex Machina is less of a commentary on AI and the dangers of advancing tech and more of a commentary on the commodification of femininity for the benefit of society, especially men. We see lenses of this theme in all of Nathan’s creations, how he justifies their existence, and more importantly, how he justifies getting rid of them. 

The moment Nathan is challenged by his creations or feels they no longer serve him, he alters their existence to suit his needs. From taking away their ability to speak, reducing them to hi tech sex dolls, to destroying them completely. It’s a very flashy way to describe the way women are treated by society. I researched Ex Machina while reviewing Men (2022), but this is my first time viewing it entirely. In so many ways, Ex Machina and Men feel like sister films in the way they broach the female experience. 

But I hit the same barriers with Ex Machina as I did with Men, this story drags longer than it should and quickly crumbles in the last act, bringing us to a dragging finish. This also lacks the visual and body horror we see in the later A24 additions. Though Ex Machina is troubling, it’s not scary. Also in Garland’s nature, the commentary does feel a bit on the nose. Give this a watch, but don’t be surprised when it doesn’t blow you away. 

Know Before You Watch: Features nudity, self harm, blood, death.