ENTERTAINMENT

AI-powered, but not very smart

The idea that AI poses a danger to humanity is not new. Numerous Hollywood action stars have followed this route, which often makes for decent entertainment, if not a thorough and insightful analysis. But what seemed like science fiction just a few years ago is now a real possibility. After all, artificial intelligence is becoming more and more intelligent every minute. However, the Jennifer Lopez film “Atlas” lacks a sense of brilliance or even futuristic curiosity.

It starts out fairly, to be honest. We find out that Harlan is the first known AI terrorist. He causes chaos in an attempt to eradicate mankind. Simu Liu’s portrayal of Harlan is appropriately fabricated and intimidating. However, Harlan is forced to escape before he can complete his “mission extermination.” But he follows through on his pledge to “finish what I started.”

After 28 years, Casca Decius (Abraham Popoola), another AI terrorist, is apprehended on the planet. Leading artificial intelligence analyst Atlas Shepherd (Jennifer Lopez in the title character) approaches. By entering the bot’s mind, she discovers Harlan’s precise location—the G 39 Andromeda galaxy.

Colonel Elias Banks (a brisk Sterling K. Brown) commands a fighting unit wearing coordinated mechsuits, and his goal is to keep Harlan alive. Atlas advises against it. Why ought they to pay attention to her? For reasons that become apparent as we continue looking for Harlan, she is the definitive authority on him. There is a mother, a hint of sibling rivalry, and some emotion in Atlas and Harlan’s shared past. Harlan was developed by Lana Parrilla in her role as Val Shepherd. Although this dramatic viewpoint was appealing on paper, there isn’t much to cheer for or feel invested in as it plays out on our screens.

Furthermore, nothing about the so-called spectacles is really remarkable, even with the extravagant scale on which the sci-fi actioner has been staged. Nor is there a burst of adrenaline.

We already know how this lengthy struggle between the antagonist Harlan and the protagonist Atlas will end. There isn’t much to keep your interest once Harlan’s forces assault the space ship, leaving Atlas to fend for herself and her AI buddy Smith. The product isn’t any more exceptional thanks to the amazing effects than it is for the dull prose, which lacks even sporadic brilliant sparks. Despite the thought-provoking discussion on whether AI has a soul and if everything is alive, Atlas and Smith’s banter is very poor.

Atlas has a deep mistrust of AI as a result of Harlan turning rogue. She still lives in an AI-enabled house, however, and she even plays chess against computer-generated opponents. It is debatable if it is feasible to have an AI-free society in the future, much less in the present. Harlan even informs Atlas that it is because of people like him that she has overcome him.

To be clear, the creators are not against AI, even when one has gone awry. The emotional center of the movie is said to be Atlas’ rediscovering of confidence (in AI) via her savior, “I am computer programme Smith.” However, this is really a token effort to establish an emotional connection. This Atlas is obviously immobile and readily dismissed.

Although Atlas received a “lollipop” from Smith for being a good patient, there isn’t one for being a good audience. “Atlas” is hardly watchable unless your “coping mechanism” is to endure a replay of comparable actioners that verges on the crazily tolerant spectrum.

“AI can learn exponentially” is true, without a doubt, but our filmmakers shouldn’t be fixated on creating AI-driven movies. Even the two hours that are allotted for streaming on Netflix seem pretty lengthy.

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