Movie synopsisA woman is held captive by a scientist in a futuristic smart house, and hopes to escape by reasoning with the Artificial Intelligence that controls the house.
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Together with Federico D'Alessandro's sci-fi thriller Tau, Netflix tries again to mark a top notch on its own science fiction catalog, this time shooting an intriguing idea and including a promising fresh twist for this. However, in the long run, it will make an impression as well as sad as it can be, what could have worked as the movie's biggest advantage is just what down it. Maika Monroe plays Julia, a little pickpocket and thief functioning seedy pubs, clubs and rear alleys - fencing stolen cellphones, personal trinkets to get a fistful of dollars to place bread on her desk. Throughout blink-and-you-will-miss-it references early in the movie, we know that she's had a troubled life - filled with negligence, abuse and violence. But, Julia is clever with exceptional problem solving abilities along with a sharp eye for information.
When a sadistic scientist called Alex kidnaps her and keeps her confined to a home that's controlled entirely with an artificial intelligence thing named Tau, Julia soon learns she is being used as a test topic to help make the ideal believing machine that Alex expects to market to the maximum bidder. Alex keeps her captivity and gets her resolve puzzles. An implant inside her head records and monitors her neural action, which can be subsequently processed to make the complicated calculations for the improved A.I. Knowing well that Alex would not make the mistake of letting her live once his goals are fulfilled, Julia gradually starts to plan her escape by befriending Tau and instructing him'feelings'.
Tau is a 2018 science fiction thriller film, directed by Federico D'Alessandro, from a screenplay by Noga Landau. It stars Maika Monroe, Ed Skrein and Gary Oldman. It was released on June 29, 2018, by Netflix.
It is a fascinating idea, if you consider it. I was immediately drawn to the assumption before I put out to see the movie. We have also encounter sufficient cases of crazy sadistic evil genius scientists conducting cruel experiments on human test subjects. However, this is maybe the very first time that we've observed the Stockholm Syndrome being implemented to an artificial intelligence in films. To its credit, Tau dons a darkened atmospheric appearance too; something apt to get a topic like this. It manages to maintain us spent in the story from beginning to the ending. There's the mostly blue or red ambient light of the home, the lavish spotless insides, the cold heartless feel to the rooms and, amidst all these, a smart young girl walking around barefoot, believing all of the while, scheming to escape into the world out.
There are three key characters from the movie - Julia, Alex and Tau - what actually lets the movie down is the fact that just one of them manages to make a mark in regards to performances. In reality, new out using an Oscar, it's Oldman's cringe-worthy voice that's the true disappointment. It's precisely the form of narcissistic, exceptional atmosphere, all-hail-the-Queen, vain British accent voice which no scientist - angry or otherwise - could think about building into his artificial intelligence. Ed Skrein isn't any better. For most aspect of the movie, he retains a direct and impassive face, frequently making us wonder if he's a humanoid cyborg himself. When he does not, he's a pain to see. Maika Monroe is adequate in her portrayal of a street-smart woman who knows that her survival is dependent upon her wits about her, and that gradually starts to acquire the confidence of a non-human being. What does not come around in her operation, however, is the numerous complexities of this relationship between a girl and a system.
Even though the first half of this movie manages to maintain our focus, the second starts to drag when Julia starts to befriend Tau. The storyline does not really go anywhere and leaves us with a lot of unanswered questions. Does Alex, together with the money he's, kidnap individuals for his experiments rather than letting them volunteer in return for fair compensation? Does Tau feel'pain' if Alex wants him ? The movie does not even make an effort to answer those queries, also chooses to concentrate on cinematography instead. Because of this, the whole film just does not hold, and ends up having a normal encounter. There's very little intelligence in this picture about artificial intelligence.
One wonders what-past the paycheckdrew Oldman into the possibility of expressing a fictitious artificial intelligence in a movie from a first-time screenwriter and first time manager, but the main point is that his existence surely uplifts Tau for the greater. Nevertheless, in spite of all the credentials of Oldman, the movie often feels as a just serviceable potboiler instead of the thought-provoking techno-thriller which was probably intended. What probably should have become the movie's biggest advantage is rather an area of weakness.
Julia is a loner who makes money as a thief in seedy nightclubs. One night, she is abducted from her home and wakes up restrained and gagged in a dark prison inside of a home with two other people, each with an implant in the back of their necks. As "subject 3," she endures a series of torturous psychological sessions by a shadowy figure in a lab. One night, she steals a pair of scissors and destroys the lab in an escape attempt, but she is stopped and the other two subjects are killed by a robot in the house, Aries, run by an artificial intelligence, Tau.
Tau is the story of Julia, a youthful, family-less grifter who's abducted by supergenius robotics scientist Alexander and made to take part in a mind study with the purpose of developing a more innovative kind of AI. While Alex obsesses over his job and confronts the mounting stressors of impending deadlines, Julia's main guard is Tau, the sheltered, old version AI in charge of his high tech house/Julia's individual prison. What's Alex abducting appealing white girls, instead of marginalized people/immigrants that no government agency would trouble trying to find? That is the type of query Tau would like you not to ask.
Since Julia, Maika Monroe tries to extend her range somewhat, with occasional victory. Having mostly appeared in non invasive Potter projects because her 2014 breakout in David Robert Mitchell's It Follows, she has disappointed somewhat by Noga Landau's script, which reproduces Julia as a part of substantial however unrealistic craftiness, continuously displaying abilities for pickpocketing, sleight of hand and MacGyver-esque manufacturing and escape strategies. It is a harder mission than the pragmatic teenage conversation that Mitchell composed for It Follows, since Julia appears more the build of a screenwriter compared to a genuine individual. The choices to groom her in a string of escalating hot outfits, such as a red dress which looks engineered after Number Six's most famous one by the reboot of Battlestar Galactica, just increases the feeling of artificial fan services. However, Monroe is definitely more powerful than the emotionless, sneering Skrein, that has not one of the douchey verve here which made him memorable from Deadpool.
Unsurprisingly, it is Oldman who makes the most enduring belief. Since Tau, he's got the hardest assignment of this film's actors, depicting a thing having a lot of naivety toward almost any element of human life away from the home where he resides. His excitement for advice and ultimate humanization reminds among Short Circuit's Johnny 5 in certain respects, though his layout is clearly a far more direct reference to this HAL 9000 of 2001. Nonetheless, there's an impishness for his characterization which produces Tau sympathetic, even though his actions are inclined to be inconsistent regarding when and how he deems himself capable to subvert his master's wishes.
There are little kernels of all"deep questions" from Tau, but unlike movies like Alex Garland's Ex Machina, these ideas on the disposition of sentience and personhood never get past the Philosophy 101 degree. Its queries, a la"For what purpose would we produce ourselves?" And its simplistic response,"for each other," would be the things of freshman faculty dry erase boards, although a rather effective imprisonment thriller is unfolding about them. In the end, the idea I kept returning to during Tau is you could probably offer this exact same assumption and these very same characters-possibly even these very same celebrities -to among the generation's assuring writer-directors, which individual would become much more from what they had already been given.
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|Category: Science fiction, Thriller|