Atlas
Atlas
Atlas: in 1927, humanoid automaton made an appearance and caused destruction in Lang’s expressionist science fiction film Metropolis which is a remarkable example of the film’s synthetic intelligence villains. Thereafter, a plethora of sci-fi films, such as 2001: A Space Odyssey, Terminator films and The Matrix, among many others, have posited that some form of Intelligent Machines will endeavor to eradicate the human race.
There is more terror than very in the past. It no longer is a case of a fictional A.I. with ill intentions being an exercise in think tank, just a turn of phrase. Any script with an A.I. as a villain seems to be set in a period where the viewers are probably thinking about or have used a functional A.I. to accomplish certain chores. As such, the idea, like that portrayed in Brad Peyton’s post-apocalyptic sci-fi action film ‘Atlas’, of an ‘A.I. terrorist’ is most unpleasantly realistic.
That terrorist has a name is Harlan. This is revealed to us in a rapid-paced prologue in which we quickly establish his path towards what drove him to wage a war against mankind, exterminated numerous people to para a scene before taking to the shockingly dull high weeds of space.
‘Blade Runner’ looking earth, people abandoned, with only the I.C.N protecting them from a purposeful pungent ‘Christ’ like Harlan return, with relief.
The ICN has been looking at the skies cautiously for the last 28 years, when they managed to apprehend an AI bot that was in part associated with Harlan. Something is happening. Among others, a scientist called an ‘Atlas Shepherd’ – Jennifer Lopez appears to be also the foremost expert in the world on Harlan.
This is partly because her mother, Val Shepherd ahs founded Shepherd Robotics and created the Harlan and raised him with Atlas. And when General Jake Boothe Mark Strong makes a request to her, Atlas takes a flight in a spacecraft commanded by Col Elias Banks Sterling K Brown on a mission to locate the planet where Harlan is believed to have been hiding.
As you can probably tell by the names, ‘Atlas,’ which Peyton directed from The Fortress by Leo Sardarian and Aron Eli Coleite, has a great number of references. (Or maybe, it is simply a copycat work.) As one can see here, Harlan is Harlan Ellison, an author of speculative fiction of high reputation.
As all know Atlas have the world on her shoulders, Lopez who worked as a producer of the film herself goes all out – an impressive kind of a performance especially because most of the movie she is all by herself. Her last name businessmen shepherd’s ring vaguely relevant to what can be a figurative name or a very easy tier reference to a rather popular character from the show Firefly.
I could keep doing this, but I think you have a point. From time to time, so to speak, ‘Atlas’ grapples with a straightforward collage, and it also appears unattractive in the manner we are quite accustomed to disguising under the streamers; dim, gooey, synthetic and faux, particularly in the conventional fiery showdowns.
The genre science fiction frequently deserves its place in remembrance by creating something that is imaginative and fresh. But with ‘Atlas’ it seems to be Matthew Mcconaughey in Failure to Launch — we have already seen all this.
It does, with reasonable success, try and tackle some of the more difficult questions. One cannot help but wonder why the creation of millions of civilian corpses by A. I. somehow did not manage to put an end to the so convenient computing technology in this universe as it sure did in the universe of “Dune”. (Actually, that kind of checks out.) Rather, they are something you have all the time, a friend to play chess with, change your house temperature, and converse and watch over you.
In spite of this, A. I. even though they are in contact with one in her house, does not the relish the idea of related technology. So much of what I remember of the tension in the film relates to her interaction with an A. I. called Smith, who she will have to merge with if she wishes to live and imagine her with a name like that.
The subject is fascinating as one open issue whether A.I. is good, evil, neutral, or some kind of other third thing in just as real life as it is onscreen. Other times, such as in Steven Spielberg’s “A.I.: Artificial Intelligence”, it has been hypothesized that this quite might as well include these other beings we may create which possess loyalty and love while the real vice lies with humanity’s ability to do the opposite. Other times, or rather more often, we find ourselves rooting for the machines.
“Atlas” focuses on the ethics of modern technology, more specifically artificial intelligence. When something goes wrong, who is to “whack” blame for doing it? This is where things also get random.
After all, the A.I. was hard to forget as it was a core issue in the Hollywood strikes last year, which included Netflix – the company distributing “Atlas”. Will A.I. ruin the industry, maybe a great deal of industries? Will A.I. save the world instead? Should Atlas have this attitude?
The film offered an explanation for this, and I must say it surprised me in a not particularly positive way. It’s a “bad apple” type theory of artificial intelligence – it’s pointless to use the A.I. transformation argument, because it’s good, and only needs to be used appropriately.
After all, I did not, however, kindly looked upon “Atlas” on my individual suspicion that the anxiety isn’t on the technology per se. It’s not A.I. that I am afraid of. It’s individual psyche that I do not have faith in.
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- Genre: Action, Sci-fic
- Country: United States
- Director: Brad Peyton
- Cast: Jennifer Lopez, Simu Liu, Sterling K. Brown
