Review: Automata

Sci-fi films have to have more than just good ideas. They have to have a story that connects and compels an audience to work at making sense of lofty ideas. The best sci-fi connects the head to the heart. Films like Close Encounters and Star Wars are beloved because we care about the characters. The central problem with Automata is that we don't care about our main character.

Antonio Banderas plays an insurance inspector for robot manufacturer ROC who understandably wants to get away from the grim city. In the meantime, an investigation into a robot’s alleged malfunctioning leads him to Dr. Susan Dupre (Melanie Griffith), who gives him the conceptual rundown. Robots were programmed not to harm living things, and also not to alter themselves or others. If those restrictions were removed, the evolutionary rate of consciousness development might blast away humans quickly. Enter robot prostitute Cleo who supposedly has these restrictions removed and soon he find himself on an adventure where sides must be chosen.

The film seems to think that him having a baby is enough for us to invest emotionally in his plight. The same is true regarding the robots. Its as though we are supposed to feel instant empathy with robots who do not want to be just things. This is too common a theme to do nothing new with it and Automata does very little that is new.

Where the film shines is in its world building and its visual style. The film is sparse and lush at the same time, using whites and browns where most sci-fi favors blacks and greens. The idea that insurance investigators run into problems in a robot filled world is a unique one.

Automata is jam packed with ideas and intriguing imagery and these carry the film for quite a while. However, the film's third act is overly sentimental and relies on an emotional connection that the film never earns. Banderas is captivating at times but his performance is often reduced by some clunky, saccharine dialogue.

3/5