“The Creator” is a science fiction thriller directed by seasoned filmmaker Gareth Edwards, known for his work on previous sci-fi films such as Godzilla (2014) and Rogue One: A Star Wars Story (2016). Starring John David Washington, Gemma Chan, Ken Watanabe, Sturgill Simpson, and Allison Janney, the film, with a budget of “only” USD 80 million, aims to compete with other sci-fi films that explore the “man vs. machine” theme.

Set in a future where Artificial Intelligence (AI) becomes an integral part of humanity, the film introduces two factions – “New Asia,” which supports and protects robots, and the US, which opposes AI due to a past nuclear terror incident in LA. The protagonist, Joshua (Washington), a former US special forces officer, accepts a mission to destroy powerful weapons owned by New Asia after receiving a tip that his wife, Maya (Chan), who works for AI, may still be alive.

Accompanied by a special team led by Colonel Howell (Janney), Joshua’s mission takes an unexpected turn when he discovers that the targeted weapon is a robot in the form of a young girl who knows his wife. Prioritizing his personal quest to find Maya over the mission, Joshua and the colonel become entangled in a pursuit across various exotic locations with Eastern philosophical nuances.

While “man vs. machine” is a well-explored theme in sci-fi, “The Creator” attempts to provide a fresh perspective with its unique premise. The plot unfolds through thrilling chases and actions set against visually stunning effects, showcasing a giant and majestic spaceship, Nomad. However, despite the epic scale and impressive visuals, the story’s depth lags behind.

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The film’s strength lies in its unique story and premise, incorporating Eastern philosophical elements. Yet, the narrative complexity, including the use of flashbacks, and the intense action sequences hinder the exploration of the human side and chemistry between the robot and Joshua. This emotional relationship, crucial for a story that intertwines technology with human dilemmas, fails to resonate due to the film’s focus on action and visuals.

Despite director Gareth Edwards’ visual prowess and stylistic achievements, “The Creator” falls short in delivering the promised depth of Eastern philosophy. Edwards excels in packaging and maintaining the tempo of his action sequences, reminiscent of his work with giant monsters and objects. However, the script requires significant attention. The film’s exploration of the negative impact of technology lacks depth, and the Eastern setting fails to provide a subtle and satisfying solution for the sought-after balance between technology and humanism. It is a missed opportunity that diminishes the impact of the film’s intended message.

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PENILAIAN KAMI
Overall
70 %
Artikel SebelumnyaDar Saaye Sarv (In the Shadow of the Cypress)
Artikel BerikutnyaPetualangan Sherina 2
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on montasefilm.com, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.

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