From Joe Peltzer

THE CREATOR (2023)

Original science fiction will always hold a special place in my heart, the depths of one’s imagination tested to the extremes when done well and often resulting in a unique cinematic experience. Gareth Edwards’ The Creator largely succeeds in delivering a remarkably intriguing vision, even as the script could have used a bit more tightening up and his lead (John David Washington) fails to rise to the occasion.

Set In the not too distant future where the western world has banned AI after a nuclear detonation in Los Angeles left millions dead, The Creator follows Joshua (Washington) as he seeks to retrieve a weapon crafted to shift the tides of the ongoing war. When said weapon is discovered to be a young AI child (Madeline Yuna Voyles), Joshua’s past loss and current conviction collide, altering not only his future, but that of the world. You’d be hard-pressed to find a more visually striking film, from the production design to the stunning visuals. The world established doesn’t seem too far fetched, one that looks believable as a reality 45+ years from now, but of course with advanced robotics involved. This sets The Creator apart from so many other sci-fi films in that there is an undercurrent of realism, similar to how I felt about last year’s After Yang. Add in Hans Zimmer’s fantastic score that swings between eerie and modernly energetic and you have a film that sucks you in from the start.

Edwards’ script, cowritten with Chris Weitz (Pinocchio, Rogue One: A Star Wars Story), ultimately serves as the focal point of the The Creator’s flaws. Too often the story feels rushed to the point of overlooking logical questions; though not to the same extreme, the audience is asked to simply accept what is presented similar to Christopher Nolan’s Tenet. For instance, the character of Drew (Sturgill Simpson) inspects the child weapon, referred to as Alphie, and immediately delivers an analysis of the child’s powers and ability to continue to develop. We are simply to accept that the force-fed information, though it’s not clear how he would have known it, something that occurs often and stands out as a minefield of plot holes. 

The same could be said for the emotionally void subplot that is underdeveloped, though serves as key motivation for Washington’s Joshua. His relationship with criminally underused Gemma Chan’s Maya is rushed and not at all convincing as a driving force behind Joshua’s actions, largely because of Washington’s performance that is plagued with an absence of empathy. The actor simply fails to capture the depth of the intended emotions, save for a brief interaction in the third act. As a result, Yuna Voyles isn’t really given much to play off of with her limited dialogue, though she knocks it out of the park when the script calls for her to go all-in.

Allison Janney on the other hand is excellent as Colonel Howell, giving strong Sigourney Weaver in Avatar vibes. Her performance is steady and she, along with Ken Watanabe, serves as a breath of veteran professionalism and stability. She even gets into the action (a far cry from her character on The West Wing), wielding weapons in a few of the film’s well-executed action scenes. One in particular, which Janney is not involved in, features a duo of sprinting barrel-shaped robot bombs. The sound mixing and the visuals lead to a tension-filled sequence that is a standout, a representation of the stronger aspects of the film.

The Creator is not a bad movie whatsoever; there is a fascinating question revisited once again (Terminator, anyone?) regarding the dangers of AI. But with a topic that has been investigated both in entertainment and in current affairs reporting, the lack of an informational foundation results in an often hollow delivery. With talk of a first cut that ran over 5-hours long, it is likely that the missing pieces were left on the cutting room floor.

Rating: 2.5/5

The Creator hits theaters on September 29th, 2023.

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