Gareth Edwards may not be widely known unless you are a cinephile. However, it’s likely that you have seen one of his films. If “Monsters” sounds familiar, that was indeed his first film. Moving on to the 2014 Godzilla reboot might ring more bells. But when we mention Star Wars: Rogue One (arguably the only contemporary valid Star Wars entry), recognition is high. Now, Gareth Edwards returns after a seven-year hiatus with “The Creator,” a science fiction film that leans towards dystopia, featuring genuine themes, strong characters, and most importantly, exceptional visual effects. This 2023 fall release is one not to miss, and we should begin discussing it immediately.
As we recover from this summer’s major releases—Barbie, Oppenheimer, and Mission: Impossible—Dead Reckoning Part One—the arrival of fall is imminent, with September 27th marking the return of Gareth Edwards. At 48 years old, the British filmmaker first gained recognition in 2010 with “Monsters,” an alien film that served as a metaphor for the aftermath of Hurricane Katrina. This thematic approach can also be seen in his subsequent works, such as Godzilla and Star Wars: Rogue One, which distinguished him from other emerging filmmakers. Like Neil Blomkamp, with whom he shares certain thematic similarities, Edwards brings a unique perspective to American blockbusters, setting himself apart with an atypical directorial style that avoids formulaic storytelling. Unlike many of his contemporaries who may conform to studio expectations, Edwards consistently infuses each film with his own distinct vision and artistic flair.
Gareth Edwards aimed to explore artificial intelligence with The Creator, a subject that has long been a staple of science fiction cinema for nearly five decades but now feels particularly relevant given the current context of AI like ChatGPT blurring the lines between truth and falsehood. While Mission Impossible Dead Reckoning depicted an exaggerated portrayal of AI capable of manipulating humans, in The Creator, AI takes on a more human, emotional form, likely reflecting the film’s central theme. Interestingly, throughout its production, The Creator was originally titled True Love—a fitting name after viewing the movie. However, it is fair to acknowledge that for an action sci-fi film, True Love may not have been as compelling a title compared to The Creator, which resonates more effectively with its clear references. I will discuss this further later; however, viewers can already identify homages to Akira, Ghost in the Shell, Blade Runner, Avatar, and even District 9 within the film.
Before proceeding further, let’s discuss the film’s story. What does it entail? It depicts a war waged by humanity against AI, which have become autonomous and capable of both warfare and peace, but primarily conflict with humans. We’re in a near future, specifically 2065. Artificial Intelligence, manifesting as robots, is hunted by the West, particularly the United States, after being accused of mishandling a nuclear missile 15 years prior, causing a devastating explosion in Los Angeles and resulting in hundreds of thousands of deaths. Humanity collectively signed a pact to eradicate these AIs, except for New Asia, encompassing Southeast Asian countries like Cambodia, Thailand, Japan, Indonesia, and Nepal. There, AI coexists peacefully with humans. To track and annihilate rogue AI robots, the Americans developed a spacecraft hovering over Earth like a satellite, capable of scanning every corner for subsequent elimination via nuclear weapons. Yes, it’s extreme but reflective of American military methods—no need for further illustration. One might perceive an exaggerated portrayal of the U.S. military order in the film, yet considering numerous biographical depictions showing their blundering in both thought and action, I find it fitting.
In any case, “The Creator” is also a film where Gareth Edwards draws a metaphorical parallel, if not outright denounces, the specter of the Vietnam War, which is never far from the narrative. One can discern his intentions by observing how the British filmmaker handles the subject and depicts American soldiers’ attacks on Asian villages. There is even an emotionally charged scene featuring young actress Tangkwa Chananticha, who is barely ten years old, stealing the show with a performance that evokes dark moments from the Vietnam War. Tangkwa Chananticha, previously seen in Xavier Gens’ film “Farang” playing the role of Nassim Lyès’ little girl, is an actor to watch closely given her remarkable potential.
Madeleine Yuna Voyles, who plays Alphie, also succeeds in making her scenes emotionally powerful despite being only 10 years old and undertaking her first cinematic role. She carries considerable attention, especially in numerous scenes with John David Washington, known from Denzel’s film. Perhaps the least convincing element of the movie is Washington himself; his emotional range appears limited in his acting for much of the film, though he does transcend towards the end. Fortunately, other actors elevate the film: Gemma Chan, who was previously seen in ‘The Eternals’; Allison Janey, accustomed to supporting roles yet credible as a war veteran; and Ken Watanabe, known for his role as a particularly loyal soldier-robot AI.
Certainly, “The Creator” features some clichéd moments, but it also includes several surprising elements. This realistic sci-fi approach, reminiscent of Christopher Nolan’s style, leaves viewers pondering numerous questions upon exiting the theater. In an era marked by global surveillance, we are reminded that our anonymity has diminished significantly behind computer screens and smartphones. As a work of speculative fiction, “The Creator” is further reinforced by contemporary technological advancements each day. It is the film’s message that makes it thought-provoking and impactful, alongside its visually compelling presentation, which stands as another notable strength of this $80 million production. The budget might seem modest compared to the wealth of sci-fi details, but this is achieved through a streamlined filming process. During our meeting with Gareth Edwards in Paris last week, he explained that large crews drive up costs significantly; sometimes over 300 people are involved on set, and travel expenses add to these costs. Consequently, for “The Creator,” Edwards opted for a minimalist approach, employing reduced teams. Certain scenes shot in the Himalayas were managed by just three individuals: Edwards, actor John David Washington, and a producer. Thus, it was a lightweight, guerrilla-style shoot utilizing natural lighting and authentic Southeast Asian settings.
Shooting in natural settings is more cost-effective than building studio sets and can produce striking visuals. Edwards communicated his artistic vision to special effects teams, emphasizing the approach of creating visual effects from filmed material rather than adhering to pre-established effect plans before shooting. Although this method may seem simple, it differs from Hollywood studio norms and could potentially transform film production by reducing costs. Edwards also noted using minimal equipment for certain scenes, such as an affordable Sony FX3 camera priced at a maximum of 4000€ that can fit in a small pouch.
This is exactly what “The Creator” and Gareth Edwards’ cinema in general represent – creating an ambitious, large-budget American blockbuster while adopting indie-like, almost family-oriented methods without compromising the quality of his work. It is important to note that for over a decade, Gareth Edwards has been one of the dependable directors known for crafting challenging, precise, and emotionally engaging science fiction films. “The Creator” successfully integrates these three elements, making it highly recommended. The film is complemented by a soundtrack composed by Hans Zimmer, featuring a particularly hypnotic theme – something that does not come by every day indeed…
While we delve into the dystopian world of “The Creator,” it’s worth noting that the gaming industry also has some exciting developments on the horizon. Rockstar Games recently acquired Cfx.re, a studio behind the popular FiveM server creation software for Grand Theft Auto V (GTA V). This strategic move not only bolsters the development of the highly anticipated GTA 6 but also signifies Rockstar’s commitment to embracing community-driven innovations. For more insights into how this acquisition could shape the future of online gaming and what it means for fans, be sure to check out Carlos Mendoza’s insightful article [Read the article] on how this integration will enhance the gaming experience in GTA 6 and beyond. As we delve into the world of science fiction and cinema with Gareth Edwards’ “The Creator,” it’s worth taking a moment to consider another piece of recent entertainment that has garnered significant attention but hasn’t quite lived up to expectations. Ahmed Hassan’s review of “Atlas Fallen” on Players for Life critically evaluates this highly anticipated game, which disappointed many reviewers due to its underwhelming execution despite promising concepts. Published on August 10th, the article explores the game’s struggles with clunky mechanics and unappealing graphics, alongside a few highlights that still managed to shine through. For those interested in gaming critiques and the intersection of high hopes and reality, be sure to check out [Ahmed Hassan’s insightful review][Read the article].
