SURROGATES (2009 - Cert 12a)

We all love robots. We especially love real robots. Everyone loves to watch footage of those Japanese Tech Expos where the latest and greatest in artificial intelligence is revealed, which ultimately turns out to be something that resembles a pedal bin that can only really polish your shoes or warn you when it's about to walk (rolL or waddle) into something. We love watching those things because essentially they are a bit shit and that is inherently funny. They are a bit shit of course when compared to the offerings that films, TV and comic books have been giving us over the years. They even make Johnny 5 look a bit tasty.

Cinema has been obsessed with the robot, or android or cyborg, whatever you want to call it, for years. Think back to iconic films such as Star Wars, Blade Runner, The Terminator, AI, Robocop, Metropolis, Westworld, Alien, Aliens, Hitchhiker's Guide to the Galaxy, all films that are either about or feature robots. Recent years haven't done anything to stem the tide of the onslaught either, so what is it with robots? Why are film makers and cinema goers so keen on them? Well with the exception of the frankly stupid Transformers films, robots are the perfect device to explore what it means to be human. As people strive to create machines that can do all that we can, what is that we possess that they never will. It's a compelling theme and one that continues to be revisited, with varying levels of success.



Surrogates is one the latest films to have a crack at it. Directed by Jonathan Mostow, who has brought us U-571, Terminator 3 and Breakdown (all solid and dependable films), it's set at some point in the near future where Surrogates have been invented to lead our everyday lives. A surrogate is essentially a remarkably human-like, idealistic (a more beautiful and younger version) remote control robot. The humans sit at home, not getting dressed or washed, in a matrix-like chair set-up, controlling their unit with their thoughts. The main selling point is that it is safer for humans as they will not encounter violence or disease as it is their surrogates that have to face the elements. That is until a weapon is found that kills both the surrogate and the owner at the same time.

That's where Bruce Willis steps in as a detective who is assigned to the case, along with his partner played by Radha Mitchell. They are of course playing their Surrogates, who are creepy and expressionless, very Stepford Wives looking. Willis looks particularly odd with hair, in fact my girlfriend who was dipping in and out of the film, said at one point 'Ah it's an old Bruce Willis film'. He clearly enjoys himself, playing this weird version of himself with a blond Hitler haircut. He is his usual watchable self. During the first part of the film it very much resembles a standard detective thriller/film noir. The monotone surrogates adding to the downbeat tone already created by the slow score over the top of the action. It's a decent and mysterious opening to the film and I must admit that it exceeded what I was expecting.

Then Willis loses his surrogate and has to head out in to the big wide world on his own. It's an interesting idea, a human thrust into a now alien world full of robots. That's it really though, thats as far as it gets. An idea. Nothing is made of him stepping out of his comfort zone and back outdoors. It's a shame because I imagine that there should be a lot of material and mileage in that. It's just an older version of the Willis before but grumbling a bit more and aching.

The film itself loses it's way as well. The plot tries to twist and turn to keep up the film noir vibe, but struggles despite some nice espionage/disguise touches. The supporting cast including Ving Rhames and Rosamund Pike (who I didn't recognise at all) have a go at keeping it interesting with sub plot attempts at making the film worthwhile sci-fi which ultimately fail, not through any fault of their own, but more because the strands of story are overly contrived and totally signposted. Ideas we've seen before but done much better and much more subtly.

The final sequence has the surrogates acting like super-heroes, bouncing around with ridiculous strength, only making me wonder why they were just strolling around the streets if they were able to leap 30 feet in the air. All a bit silly. Then there is a plot point at the very end that feels tacked on just to give the film an ending that is supposed to make us think. It's shoe-horned in with an incredibly poor piece of shoddy exposition. One of those moments where you really are in shock, how did someone get paid for that?

It's all perfectly watchable but totally unremarkable, not remotely memorable and unoriginal (it more than whiffs of I, Robot). It's 90 minutes that do whizz by, but you can't help feel that that time could have been better spent, perhaps by watching any of the films I mentioned a few paragraphs ago. Or by watching a Japanese robot walking into cupboard doors.

AN EDUCATION (2009)

Finally I managed to get back on to my Lovefilm choices, they had somehow taken a bit of a back seat and I was starting to wonder whether my monthly outlay was worth it. However, when An Education landed on my desk at work I knew I had to make some time to see it. Plus it was one that I could easily persuade the girlfriend to watch.



Smothered with critical praise and award nominations after it's release last year, it's the simple coming of age story of a 16 year old girl (Carey Mulligan) in 1961 Suburban London, on track for a stellar education at Oxford University before she falls for the seductive charms of of Peter Sarsgaard's older man. Her life changes and she finds herself at a crossroads, academic education or 'The University of Life'.

Based on the memoirs of British journalist Lynn Barber, and the screenplay written by British novelist Nick Hornby, it's the acting cast that make this film such a pleasure to watch and make it worthy of the praise that it has received. Carey Mulligan, as Jenny, the young girl and lead character is truly fantastic. She was up for an Oscar, and could not have been far off grabbing it, for her portrayal of a girl going from wide eyed innocence to thinking she knows it all as she wrestles with the right way to grow into her adult life. She is equally at ease at playing a geeky, cello playing college girl as she is as a maturing socialite wining and dining in Paris. It's her breakthrough performance and it's clear she has a bright future ahead of her.

Alfred Molina, as Jenny's father is once again fantastic. He represents the now very dated views of the only way that a woman can succeed is to excel academically or to meet a successful man. Even though his opinions are practically prehistoric and is often seen as the baddie of the piece, it is a testament to Molina that he manages to be so likeable. You also feel a great deal of sympathy for him as he is convinced that there is little worth doing outside of their suburban bubble, while Jenny boasts of eating great food, and drinking fine wine. He wants the best for his daughter but he does not know what that is.

Peter Sarsgaard is no doubt in line for the big time as well based on this performance. He is charming and appealing as Jenny's (much) older suitor David, despite the relationship itself being undoubtedly open to misinterpretation. His slick manners and the ease with which he deals with people seduces Jenny despite it being clear that he is not all that he seems and the way he earns his crust is also far from honest.

The cast list goes on - Dominic Cooper as David's good friend and 'business partner', does plenty with what he is given. Like David he is amiable and fun, but you are exposed to moments of aggression that leave you in no doubt that he is capable of being far from nice. Rosamund Pike is good as Cooper's ditsy  wife, representing a possible glimpse as to what Jenny's life will become if she choose to enrol in 'The University of Life'.

Then just when you think that the roster must be complete, Emma Thompson turns up as the Headmistress of Jenny's school. She only appears for two scenes but it's a worthy addition and she pulls it off without trying.

The film is well made too, Lone Scherfig doing a tidy job with the material, but she admirably pulls off a reconstruction of 1960's London. Each old car and dated shop front making you feel as though you are there, transported back in time. Nick Hornby must get a mention as well for the screenplay. Having not read the source material I'm not sure how good an adaptation it is, but there is enough good stuff in there to suggest he may have a new penning career there for the taking.

It's not all positives though, there are some issues that stop it from being as good as it promises to be. Once the relationship takes a turn for the worst and Jenny's choices are shown to be far from right, things become very dark very swiftly. However, just as quickly as things went badly, they all turn around for the better again. All of a sudden. An entire academic year is condensed into 5 minutes of screen time and we all live happily ever after. It's not that I dislike a happy ending (although they do irritate me), it's just that this all felt too neat. She learnt her lesson, made it right, and everything is sweetness again. All in the space of ten minutes.

Also, despite the performances being brilliant, the characters themselves are slightly two dimensional, seemingly there to represent a particular point of view of political stance. Only Dominic Cooper and Peter Sarsgaard, other than Jenny herself, have anything resembling depth.

These criticisms though do not detract from what is essentially a lovely, very watchable film, with a brilliant cast, presenting important subject matter in a polished slice of cinema.

We can all relate to it, we've all been a young person convinced that we all know better than anyone else, only to be shown that our innocent naivety will see us caught out by someone else more wily, leaving us to eat our words in the end.