Rarely does a film come along that has the potential to change your perception of cinema, a film that challenges hitherto well known boundaries. Many productions aspire to achieve this greatness without ever having that mystical element that will elevate them above the crowd towards the much used but invariably undeserved title of modern classic. The Machine however deserves all these plaudits.
At an unspecified point in the near future the UK is in the middle of a Cold War with China. As they strive to obtain the upper hand the Ministry Of Defence are investing vast resources on developing the ultimate killing machine, a flesh and blood soldier enhanced by technology or even one controlled through medically inserted artificial intelligence. Vincent (Toby Stephens) idealistically leads the research but has so far been unable to find a way to prevent the “chipped” soldiers becoming anything more than mute and volatile until Ava (Caity Lotz) begins working for him.
When Ava is mysteriously and suddenly killed Vincent installs her programming into a new, prototype Machine, barely considering the consequences this new project may bring. As the new Ava struggles with her developing consciousness Vincent must come to terms with how real she actually is, and also how terrifying her power could be.
The impact of watching The Machine for the first time is difficult to satisfactorily describe. There are definite nods to Blade Runner-esque visuals and a foreshadowing similar to that of the Terminator Universe but there is more at play here. Writer and director Caradog James has created a film that is as stunningly beautiful as it is terrifyingly portentous. The grace and style with which Machine moves contrasts directly with the naivety and awkwardness of its developing personality and Lotz is absolutely convincing in the role. The interaction between her and the gruff, unapproachable Vincent toys with themes of forbidden relationships and submission, but thankfully never strays into realms of sexual tension preferring instead to focus on mutual and respectful dependence.
Performance wise leads Lotz and Stephens are as impressively nuanced as they are intense, truly inhabiting characters that are theirs and theirs alone. With support from the always excellent Denis Lawson as the company head with a desire for war, and with a cast of real depth including Pooneh Hajimohammadi and Sam Hazeldine, James has assembled a team in whom he has been able to instil his trust and vision. And it is in this vision where this film really comes into its own.
Without question The Machine is one of the most stylishly impressive and visually striking films you will ever see. From subtle, yet horrifyingly macabre physical injuries to a scene of burgeoning self awareness where Machine balletically and beautifully dances across the floor of a dystopian warehouse James has created a film that is genuinely awe-inspiring and artistically impeccable.
OVERALL SUMMARY
To label The Machine as a “must-see” barely emphasises the truth in this well quoted phrase. If further evidence was at all required then this comes in the fact that this is a film that was made for less than £1 million. In achieving this amazing feat James has demonstrated that low budget is no restriction on the visual impact that a film can carry. The Machine really is an important film on many levels but first and foremost it is a triumph in filmmaking. Stunning, quite simply, stunning.
