Amidst a future war between the human race and the forces of artificial intelligence, Joshua (Washington), a hardened ex-special forces agent grieving the disappearance of his wife (Chan), is recruited to hunt down and kill The Creator, the elusive architect of advanced AI who has developed a mysterious weapon with the power to end the war… and mankind itself. Joshua and his team of elite operatives journey across enemy lines, into the dark heart of AI-occupied territory… only to discover the world-ending weapon he’s been instructed to destroy is an AI in the form of a young child. (20th Century Studios)


Reviews (10)



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English Creator was supposed to be the sci-fi hit of the year, but the actual result was almost unwatchable, I suffered unbelievably. In short, Gareth Edwards made a film that, in its style, evoked the Star Wars I hated. I was kind of hoping it would be something along the lines of Independence Day, only with UFOs replaced by an artificial intelligence, but I was sorely mistaken. The film gave me the impression that with 40 minutes gone by, I still didn't know what was going on, there was no introduction to the characters or plot, just one scene after another, with zero viewer engagement. It's like putting episode 6 of a random series and trying to get my bearings on the plot. I was absolutely not entertained by Washington, and the rest of the characters didn't engage me either. The action was dull, I found it to be childish and unexciting. There’s nothing epic, no wow moment, no suspense or atmosphere, just something happening and I didn't really care by halfway through the film, I just wanted it to end. In the end I'm glad I didn't go to the cinema, I've never seen more boring action sci-fi. Disappointment of the year. 3/10. ()


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English The Creator is a surprisingly average sci-fi flick that neither draws in nor surprises the viewer, let alone impress anyone with its production design. The film largely takes place in huts in Asian fields and, what’s more, in the dark. And when it comes to the futuristic city…well, that looks exactly like Blade Runner. And the heavy machines plowing through the jungle look exactly like something out of a Cameron movie. Another problem is John David Washington and his limited abilities as an actor – it’s impossible to believe him either as a conscientious refugee on the side of the rebels or as a protector of children’s innocence. And the repetitive grieving for his former wife, which doesn’t even elicit any emotion, becomes annoying over time. The only acting element that brings a bit of life to this film is young Madeleine Yuna Voyles. Two and a half stars. ()


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English I would never cast young Washington in a leading role again, his acting bad (and I'm taking off one star for that). Otherwise I found this film terribly rich, both visually and emotionally. Gareth Edwards takes us through several locations with a succession of gorgeous images, whether it's a city with dozens of glowing neon signs like in Blade Runner, an Asian landscape where ancient Buddhist culture clashes interestingly with modern sci-fi elements, or the Nomad super spacecraft that Kosinski seems to have invented for Oblivion. I was especially impressed with Asia and how thoughtfully and seamlessly the modern architecture builds on the old buildings, creating such an interesting contrast, and the viewer immersion is incredible. I'm not a fan of AI, but I still didn't mind that Edwards relativizes it and actually puts it in the position of a positive element, just like Blade Runner did 40 years ago, the story thus gets a charge that kept my attention throughout and the few logical lapses didn't ruin it for me. Unfortunately, Edwards is a misunderstood filmmaker. Whether it is with Godzilla, which was a clever homage to the TOHO's films, or here, with the heavy-duty sci-fi that isn't being made much these days. I can only be comforted by the fact that Blade Runner was also critically panned and rejected by audiences in its day, so .... maybe it'll come out in a few decades too, Gareth. ()


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English And the bubble has definitely burst, so if anyone thought that Gareth Edwards was a directorial genius who was forced out of Rogue One by the evil Disney, and Tony Gilroy only “finished his job for him”, they're in for a nasty clash with reality. The Creator is a beautiful looking film. Physical, full of cool gizmos, gadgets, robots, tanks, rockets, and generally beautiful to look at. It looks very decent in motion too, Edwards is quite adept at war action, and at some points his latest film is reminiscent of Terminator or Avatar; and also of the film we've been looking forward to since the trailers. But then there's a lot of things he can't do. Edwards is a brilliant designer, a decent executor and a lousy storyteller. The longer I watched The Creator, the more I actually felt sorry for him, because behind that veneer of great production design is a woefully banal story, told in an unimaginative and uninteresting way. All the clichés you can think of are there, even the ones that you'll think would be a bit embarrassing if someone used them. Besides, The Creator tries desperately to pretend to be something more and offer some philosophizing in addition to the simple story, but Edwards is woefully unable to work with it. And the more he tries to look clever and multi-layered, the more it becomes apparent how superficial and boring this film is as the running time progresses. Nice, but... shitty, I guess not, but just not very good, either. ()


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English A film whose creators stutter, can’t remember the beginning of a sentence and constantly run the gamut from “original sci-fi” to clichés and desperate banalities that mask one thing: The Creator says nothing relevant about the phenomenon of AI, which is merely another spectacular decorative element in a film that’s completely dependent on design. Neither the plot nor the world of the film makes sense; given how much space The Creator has, it never creates a coherent and comprehensible world. By comparison, even the didactic Elysium comes across as an engrossing fictional world. Edwards’ directing tries to go in depth, but it rather unconvincingly jumps from details to the big picture, from the present to the past. Some of the actors’ lines really could have been written only by Chris Weitz... Washington plays an utterly two-dimensional character who, through his suffering, only reinforces the impression that The Creator demands grand emotions, to which he is absolutely not entitled. Instead, it has the same feelings of emptiness and lifelessness as Godzilla and Rogue One. ()


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English An audiovisual feast... A beautiful setting in an underdeveloped Asia that is being destroyed by imperialist (American) scum with their ruthless missiles. Add to that a roaring Zimmer and maybe Radiohead. Unfortunately, though, with a stupid, unlikeable hero who doesn't know what he wants and betrays everyone who comes in contact with him. John David Washington is cruelly out of place here, and even the little girl is better than him, but that's the least of the problems. The narrative structure is fine, though I was expecting a more interesting twist, but the bigger problem is when some things contradict each other, failing to follow the given rules of the imagined world, which itself works rather oddly. They must have left a lot out in, and it often feels like stroking against the grain. There’s a good film buried in there somewhere, but Gareth Edwards has badly mishandled it and I can't work out if it was already on paper or later in the editing room. ()


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English A mix of Oblivion, Blade Runner, Elysium and Independence Day, with a meditative Asian setting and a completely uninteresting script and characters. It's a huge shame. The Creator demands big emotions from the viewer, but is unable to offer adequate material to make them happen. That said, the technical aspects are top-notch and the plot premise itself – the clash between A.I. and humans – is very timely and interesting. Untapped potential and Clair de Lune certainly doesn't save it. ()


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English Why was such a mundane story set in such an amazing world, why did I not care about the characters, and why was the ending so drawn out as to be almost annoying? Gareth Edwards couldn't build (and tear down) on the foundations of Godzilla or Star Wars Rogue One, and this time he came up with something of his own. Unfortunately, he didn't quite succeed. The story is about as dull as the Hans Zimmer music that accompanies it, and if it weren't for the technical flourishes that rival Avatar and that kept me entertained pretty much nonstop, The Creator would have been a mediocre attempt at sci-fi with an idea. I got the urge to watch Blomkamp's Elysium, which is similar in some ways, but it didn't play at anything. ()


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English The Creator is a great technical achievement considering its budget of "only" 80 million dollars, because its magnificent visuals and production design put all those overpriced and computer-artificial sci-fi films of recent years to shame. Unfortunately, the same enthusiasm cannot be shared on the part of the script, the skeleton of which is a tired scheme that relies on so many coincidences and convenient strange decisions by the characters that it makes your head spin if you give it some thought. And it's a great pity, I would like to root for it. ()


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English The Creator is one of those films in which the formal side wins out over the content. Visually, it offers appealing locations and, above all, the visuals of the "simulacra", but in terms of story it is a compilation of earlier sci-fi pieces without any major attempt to provide a new insight on the subject of AI. In this "compilation" respect, I thought mostly of James Cameron's work while watching it (Terminator, Avatar or Alita: Battle Angel). Alongside the themes of AI and humans vs. machines, the father-child (Joshua-Alphie) plane had some potential, but was drowned in mediocre concept and a weepy denouement. Of the cast, the young Madeleine Yuna Voyles appealed to me the most, the rest was rather bland. Still, The Creator is certainly worth seeing in the cinema, even if it doesn't offer much material for deeper reflection after the screening. ()