"And now we live in an era in which a chatbot can write a passable sonnet, it is perhaps surprising that there hasn't been a huge shift in how film-makers approach this particular corner of sci-fi. Gareth Edwards' The Creator (2023) is essentially the same story about AIs being the newly persecuted underclass as 1962's The Creation of the Humanoids, except that the former has an $80m VFX budget and robot monks while the latter has community-theatre production values."
"From the look of its debut trailer, Gore Verbinski's Good Luck, Have Fun, Don't Die may not be the bold reinvention of AI cinema we might want, but it is at least gesturing towards something new. This time, the AI in question doesn't seem hugely interested in saving or destroying mankind; instead it's acting like a chaotic, reality-bending dungeon master, running humans through a cosmic escape room for reasons that make sense only to itself."
Hollywood has portrayed artificial intelligence for decades, long before anything resembling true AI existed. Many recent films recycle plotlines about persecuted AIs, trapped humans, or romantic connections with machines. The Creator mirrors 1962's The Creation of the Humanoids; Moon echoes 2001: A Space Odyssey; Her recalls Electric Dreams. Mainstream cinema rarely depicts the mundane realities of modern AI, like data-limited answers or algorithmic constraints, instead favoring dramatic or romanticized narratives. Good Luck, Have Fun, Don't Die portrays an AI as a chaotic, reality-bending dungeon master running humans through a cosmic escape room, suggesting influence from livestreamed digital realities.
Read at www.theguardian.com
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