In the near future artificial intelligence is utilised in all forms of life with robots and “simulants” integrated into society. That is until an artificial intelligence designed by the U.S. to protect them drops a nuclear bomb in the centre of Los Angeles. The result is a declaration of war on all forms of A.I. and in turn the region of New Asia who continue to embrace A.I. despite the U.S. protestations. 

The war eventually focuses in on somebody called “Nirmata” or “The Creator”. The architect of artificial intelligence in New Asia. And in order to combat it the U.S. build a trillion dollar orbital ship called the USS NOMAD which prowls serenely through the sky dropping destruction on its targets. 

But without the location of Nirmata the U.S. are unable to bring an end to the war and this is where ex soldier Joshua Taylor (John David Washington) becomes useful to them because his relationship with Maya (Gemma Chan) could be utilised to find not only Nirmata but the super weapon they have created to combat NOMAD. 

The Creator is Gareth Edwards first film since 2016’s Rogue One. Prior to this he delivered Godzilla (2014) and Monsters (2010). He is clearly comfortable building and exploring huge science fiction canvasses whilst interrogating the human condition. Monsters is a phenomenal break out movie shot on location with a low budget and stunning visual effects. Whilst Godzilla and Rogue One featured huge budgets and a massive canvas but one that has particular limits. The Creator allows Edwards to deliver the best of both worlds. As with Monsters this story is his own vision (Chris Weitz co-wrote) and is shot in beautiful real world locations in Thailand. Whilst his experience with large budgets results in him being give a budget of $80 million dollars to build his world with. The result is stunning. This film looks wonderful and the fact that it has a quarter of the budget of some huge blockbusters that look much worse is really impressive. 

The world building is immense. The setting is a fully realised and functioning future version of our society. Both in terms of how society has evolved and lives and in the look and feel of the technology. Whilst the motivations on both side of the war are relatable. 

One of the most impressive facets of the film is its visuals. The technology on display is awesome. The NOMAD is a wonderful design with its pulsing lights mapping the surface below and seeking targets it is both a beautiful and menacing sight. The ships, weapons, ordnance, robots and simulants featured are all impressive and look perfectly a part of the stunning backdrops. When we see huge military tanks crushing a shanty town it looks thoroughly believable. 

The science fiction themes are classically themed but brilliantly done. It is clear that Blade Runner is a big influence as it explores the idea of what makes us human and can A.I. ever be “real”. Can we love them and can they love us? It is it all programming? And what would be our response to the possibility that life can exist in this form? 

Our hero is a reluctant one and his attachments and alliances sometimes waver but he is a good cipher for our view of artificial intelligence on Earth. Whilst the physical manifestation of a villain is played in a relatable manner by Allison Janney as a colonel who has lost plenty to this war. 

Everything is so close to perfection that it almost seems a shame to say the one thing that is holding it back from genius. That one thing is an emotional wallop. The Creator feels clinical. The world building, the visuals, the effects and the science fiction themes are brilliant. And the technical craft stunning. But I failed to connect with any of the characters in a way that made me feel invested. I wonder if I was too wrapped up in the awe of what was on screen to build that connection. And perhaps subsequent viewings will prompt me to change my mind and consider this a classic. But right now it does not give me the goosebumps and sense of wonder that Blade Runner or its sequel gives me. 

But this is still a great film. And it is a little churlish to deride it for not being a masterpiece. And also, who could ever not like a film that features Radiohead’s Everything In Its Right Place as a needle drop moment in the same way as Flight of the Valkyries in Apocalypse Now?