Â Â Â Â Â Â With 21 million people left, most of the world has been destroyed by radiation fallout. The remaining humans rely on robots for a good many things, due to not being able to go outside.Â But what happens when robots start altering their protocols (something that is supposed to be impossible for a robot to do)? This is the question this little independent film explores. Automata is what Proyas and Goldsmanâ€™s adaptation I, Robot (2004) should have been. Automata delivers strong feelings of humanity that was lost in the 2004 adaption of Asimovâ€™s work.
Â Â Â Â Â Â Â Â Â Â Â The film stars Antonio Banderas, Robert Forster, and Dylan McDermott. Banderas does something outside his typical repertoire; play the white-collar worker. Jacq Vaucan (Banderas) is an insurance agent that specializes in safety concerning specific models of robots. When he receives a report of robots repairing themselves, it sends Jack on investigation outside the quarantine zone, to a place he would have never believed existed. Automata has similar themes as District 9 (2009), art direction style of Elysium (2013), and a story that leaves you questioning the human condition.
Writer/director Gabe Ibanez allows the audience to make their own decisions on how to feel about robots and humans alike. But, I have to say it. Humans suck. Though this is only Ibanezâ€™s third feature film, (Automata being his first English language feature film) he feels like a veteran storyteller crafting his world around you. The art direction and production design was masterful, from abandoned freeways to remote deserts to awesome robot laboratories. The movie paces itself and doesnâ€™t make the mystery or its endgame feel obvious. In these times of Hollywood blockbusters, comic book movies, and overall adaptations, Automata feels as if it is mending past sins with the robot genre.