Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on Facebook and Twitter with your friends.
WHAT: Caleb (Domhnall Gleeson), a young programmer at an Internet search engine, thinks that he’s just won an office-wide lottery to spend a week with the company’s reclusive but brilliant CEO, Nathan (Oscar Isaac), at his remote home/research facility in Alaska. But Nathan has other plans for him – namely, to enlist Caleb’s assistance in conducting a Turing test on his newest creation, an incredibly lifelike robot named Ava (Alicia Vikander), in order to determine whether the artificial intelligence can pass as human.
WHY: Screenwriter Alex Garland has worked almost exclusively in the science fiction genre, so it comes as no surprise that his directorial debut occupies a similar space, this time focusing on the decades-old debate of artificial intelligence. Making a movie about A.I. isn’t exactly a novel premise, but Garland excels at putting a fresh spin on familiar material, and he doesn’t disappoint with “Ex Machina,” which draws inspiration from other genre classics like “2001: A Space Odyssey” and “Frankenstein.” Garland’s film is intelligent science fiction operating at a very high level. The movie hits on some pretty big concepts without ever alienating the audience, and the sci-fi elements feel authentic despite being years away from creating such technology. The visual effects are also quite impressive, but they never overshadow the story by drawing too much attention to Ava’s beautiful but simplistic design. Though the film moves at a fairly slow pace, meandering towards its crackerjack ending via Caleb’s sessions with Ava and his post-meeting debriefings with Nathan, it’s never boring, and that’s to the immense credit of Garland’s clever script and some excellent performances. Anyone who’s seen Garland’s previous movies knows he can write, but with “Ex Machina,” he announces himself as a talented director who can not only spin a good yarn on the page, but on the screen as well.
EXTRAS: There’s a five-part making-of featurette, as well as eight additional behind-the-scenes vignettes and a Q&A with the cast and crew from SXSW.
FINAL VERDICT: RENT
WHAT: Teenage suburbanite Jay (Maika Monroe) has just learned she’s been infected with a curse where the victim is ruthlessly stalked by a slow-walking entity that can assume the form of anyone. Nobody else can see it, but if it catches you, it’ll kill you, and the only way to get rid of it is by having sex with someone else and passing it on – at least until it kills that person and works its way back down the chain. Trapped in a constant state of fear, Jay must rely on the help of her friends to stop the monster from claiming any more lives.
WHY: Considering the role that sex has played in the horror genre throughout the years, it’s surprising that the supernatural STD angle hasn’t been done before, because it’s a really clever idea. Though the “sex equals death” rule isn’t as prominent in modern horror movies that defy those decades-old tropes, “It Follows” is very much a retro homage to ‘70s and ‘80s genre classics, from the “Halloween”-esque synth score, to the striking similarities to “Nightmare on Elm Street,” both in Jay’s perpetual helplessness and the film’s dreamlike atmosphere. But while “It Follows” has its merits as an innovative piece of filmmaking, the movie isn’t without its problems, beginning with writer/director David Robert Mitchell’s complete disinterest in digging any further into the mythology and logistics of the curse. Additionally, the acting is amateurish and the pacing could be a lot tighter. The characters spend too much time just sitting around waiting for something to happen, and although it’s initially effective in creating an ominous mood, it gets to the point where you wish they’d be a bit more proactive. The same goes for the movie itself, because despite its terrifying premise, “It Follows” is much scarier in concept than execution.
EXTRAS: There’s an audio commentary with film critics Eric D. Snider, Britt Hayes, Samuel D. Zimmerman, Alison Nastasi and Eric Vespe that’s hosted by Scott Weinberg, as well as an interview with film composer Richard Vreeland, aka Disasterpeace.
FINAL VERDICT: RENT
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