LOS ANGELES, Jan. 22 (UPI) — Companion, in theaters Jan. 31, is a clever new take on synthetic intelligence and robot stories. It only reflects trendy technology, but also recent debates about AI and gender politics.
The fact that the movie starts out as a romantic comedy is a direction, as the other person is a mystery with unpredictable twists and turns.
The next day, Josh will have to break the news to Iris that she is his robot companion, and the organization will have to figure out what to do on the body.
The significant other goes on to reveal the twists and turns to their climax, which arguably wouldn’t be spoiled in this review, but they’re all laughable and well-established. Iris discovers that she is a robot, which leads her to make attractive decisions to escape her situation.
At her heart, Iris is a blameless robot among an organization of unsightly humans, who now need to kill her in self-defense. This seamlessly makes her the most enjoyable character and causes the root to escape.
If Iris’s generation is complex enough to make her a viable mate for humans, it follows that she also has an intuition for self-preservation. it is admirable.
Writer/director Drew Hancock raises questions about the ethics in creating sensitive intelligence that can be manipulated to serve a client’s kingpins. There are rules, well explained in a flashback, to users and the product, but still a lot of gray areas.
So far, genuine adult sex products are still inanimate dolls. If any generation was capable of creating robots so complex that they could think and speak like humans, it would be very difficult to sympathize with consumers like Josh.
Assuming that the generation to create a synthetic life exists, programming for sex is not the admirable maximum of the apps. In the largest global of the film, the corporate also employs robots or medical assistants, but it is transparent that the sex robot is the sex robot that is the sex robot. effort of money.
On the surface, the other person’s intrigue is to check to dominate a robot, yet it is metaphorically the forces of misogyny that human women review. Josh feels in love and rewards, and criticizes Iris for not doing what he planned to do.
When it becomes transparent that there is no step for Josh and Iris, the movie plays with the dating clichés. With a robot involved, lines like “It’s not you, it’s me” go macabre.
The script is also a clever concept to justify a cast in a remote location. The film looks good, with Eli Born’s cinematography highlighting the bright and sunny nature surrounding the estate.