![]() Middle aged fraus (the primary TV audience) will feel like Hollywood is attacking them personally if Mark is considered ugly by their standards. No one even knows what this show is all about, but it will forever be tainted by these complaints and viewers will boycott as a result. It's bad enough that he dared to call out the executive types for essentially fucking him over (you know they don't take that well), but now the whole entire series is tarnished by his complaining. Considering the number of little techy doodads (sorry if I’m blinding you all with science here) on screen, the art department deserve props too (pun intended, not sorry).Let's be honest, this dude is going to get blackballed now. The script, by Shahin Chandrasoma, is clever in an unshowy way, and similarly Matthew Leutwyler’s direction doesn’t scream ‘Look at me’, but tells the story with quietly efficiency. Its sly sense of humour and well constructed story hold the attention, but it also manages to use imagery and subtext consistently well. Uncanny is satisfying, first and foremost, as an immediately enjoyable thriller. Despite this, although Uncanny features a laughably gratuitous cleavage shot, it generally manages to portray exploitation in a less exploitative way than Ex Machina does, while still being harrowing. It’s not a film that feels like it’s trying for any sort of message about gender politics, unlike Ex Machina. The resulting behaviour initially feels like that of an infatuated and confused teenager, but gets more disturbing as the film progresses. Here, the creator doesn’t build robots with a view to sexual attraction, but the robot itself becomes sexually attracted to Joy. The film has a lot of fun with its Biblical references, some more subtle than others, and in having a male AI has a different angle to Ex Machina in terms of gender. While David’s emergence from his bubble is more positive, Adam makes mistakes, and has trouble coping. Initially blank and synthetic, Rogers’ performance also changes subtly as he starts becoming more human over the course of week. This becomes clear in the second half of the film, where the tension gets released and the dynamic changes. Webber plays this excellently, bringing out the incremental changes in David subtly as he talks to another human being and starts to wonder what he’s missed out on, and as his relationship with Adam moves away from its initial ‘geeky brothers living in a lab’ vibe.Ĭlayton Rogers gives a restrained performance as Adam, one where his aversion to eye contact and twitchiness don’t feel forced or overdone. Joy’s presence changes all three of them, bringing David out of his shell and revealing more likeable facets to him. Adam, by contrast, is all childlike innocence and introversion when we first meet him. He’s a smug, patronising genius who’s hard to like, whose only company for a decade has been someone he built. ![]() However, her performance convinces you to go along with the film’s plot, as she has a great chemistry with Webber and makes their improving relationship seem plausible.Īs David, Webber starts off by playing Sheldon Cooper without the laughter track. Griffiths, sustaining an American accent for the most part (though, to be fair, it’s hard to maintain a different voice when yelping) is a dab hand when it comes to quickfire repartee, though is called upon to laugh nervously enough for it to become a distracting quirk. Uncanny features only four actors, and Rainn Wilson is mainly limited to looking enigmatically at monitors. Enter tech journalist Joy Andrews (Lucy Griffiths) to do a week long profile of the project. And lo, here is Adam (David Clayton Rogers), an AI who can pass as human. David Kressen (Mark Webber) has been there since he was headhunted as a teenager by Simon Castle (Rainn Wilson, watching on monitors from elsewhere) to work on world-changing technology. Instead of an almost unreachable setting, most of Uncanny takes place in a secure research facility called Workspace 18, a city-based penthouse.
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