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Tag Archive: Io movie


Review by C.J. Bunce

Using a meticulously designed new robot from Weta Workshop, the Australian science fiction movie I Am Mother has all the components of a good story steeped in the classic sci-fi of the 1950s.  It takes place on Earth after an apocalypse that could easily be interwoven into the Cyberdyne/Genisys destruction from the Terminator series, and has that futurism straight out of a Philip K. Dick short story.  What’s left are robots running everything, some on the surface, but one in particular inhabits what looks like a space station buried beneath the planet’s surface.  This robot is called Mother, voiced seamlessly by X-Men series co-star and Australian actor Rose Byrne.  She has preserved several of the last bits of humanity–embryos–in order to repopulate the species via rapid-growth technology.  The production, the design, the light-up props, and the pacing all create the right framework for a significant sci-fi film.  Unfortunately the story is single-threaded, building opportunities for subplots that get left ignored, much like January’s direct-to-Netflix sci-fi release Io.

The build-up is nicely rendered by first-time movie director and script writer Grant Sputore.  The common theme of this genre, as much sci-fi horror as merely sci-fi, is “things aren’t what they seem.”  Or maybe they are.  The audience sees Mother raise a single child from the bank of embryos stowed on the facility, a girl known simply as Daughter, played first by young Tahlia Sturzaker, then for the bulk of the movie by Clara Rugaard, both giving fine performances.  We believe the humans are long gone outside, until a woman arrives, played by two-time Best Actress Academy Award winner Hilary Swank.  She’s been shot, and whether she was shot by humans or robots becomes a mystery for Daughter to solve.  Both Swank and Rugaard look so much alike, their likeness simply must be a plot point:  Are they related, and if so, how?  Sisters?  Clones?  Same hair color and length, eyes, bone structure.  Was Swank’s lost human a former captive in the underground bunker?  How many times has Mother created Daughters or Sons?  How many years from Armageddon is this story really happening?  It’s the answers–or lack thereof–to these questions, and the ultimate payoff Sputore delivers that doesn’t match the rest of the film.

Part of the legitimacy of the film as something more than mainstream popular sci-fi is the amazing body movement work of Luke Hawker acting inside the robot suit he helped design and build with the Weta team.  How rare is it that the designer of the tech is also the actor, who is featured in 90% of the scenes of the film?  The added surprise is this was not a CGI motion capture process, but a practical effect that had to be created with real-world materials.  There is some actual chemistry between Daughter and Mother, and Mother is a pretty great mother to see in action.  It’s like watching young Will Robinson interact with his Robot in Lost in Space.  Add to the believable robot the cold and lonely tenor of the film and you have something like New Zealand’s low budget 1985 sci-fi marvel The Quiet Earth.

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Review by C.J. Bunce

The trailers appeared like it could have been so much more, but it wasn’t to happen.  Instead of the science fiction thriller promised in the trailer, this month’s Netflix movie Io is a slow, dry character study about a character who isn’t all that interesting.  Margaret Qualley (The Nice Guys) has the lead role as Sam, daughter of a world-renowned scientist in the years after a toxin has finally pushed life from Earth.  Most of humanity leaves for a colony on Jupiter’s planet Io, including Sam’s boyfriend, who tries to prompt her to meet him there via future email (that looks like text on a vintage Commodore 64).  But Sam’s father has died, and she continues his research, attempting to prove “life will find a way” on Earth.  Her father’s speeches persuaded many to stay, including Micah, played by Anthony Mackie (Avengers: Infinity War), whose wife has died.  Via air balloon, Micah travels to Sam’s science station, one of the rare places where oxygen still allows life to go on.  He comes to murder Sam’s dad, but when he learns of Sam and her desolation, he tells her she needs to come with him on the last flight from Earth.  Most of the film time is quiet thought, Sam doing her experiments, including killing a bee, apologizing blandly like that makes it okay.  And Sam and Micah talk at each other, contrived anger in spots from Micah, seeming indifference to anything from Sam.  Should they stay or should they go?

Without any emotional punch by Qualley, not much about the film works.  It’s a tale that has been told so much in science fiction and in so many better ways, that Io’s effort to tell the “end of days” story has little to offer other than an attempt at splicing in several mythology allegory references.  But without compelling, believable characters and a story with a coherent message, the effort is pointless.  The entirety of the film is in the Netflix trailer, and the rest of the film is filler.  The message of any apocalypse story is for humanity to wake up and not let the world go to hell.  Beyond that, many other movies have used the concept of apocalypse that are more accessible and interesting.  Netflix’s own Orbiter 9 is much better, and the Tom Cruise sci-fi tale Obsidian offers a similar story with much more to keep viewers engaged.  Even the Mad Max series offers characters who act like they want to survive.  Fans of the slow-paced, sci-fi dramas Arrival or Interstellar might very well like this film, and that may have been Io’s target audience, but with little budget or script it doesn’t come close to those either.

The production expects the audience to infer too much about the character of Sam from the performance of actress Margaret Qualley.  But the director, newcomer Jonathan Helpert, never settles in on who Sam is supposed to be and how much empathy we’re supposed to have for her.  The easy part is understanding her loneliness, since her father died and left her alone.  But the entirety of her emotions are held within–the audience cannot tell anything about her by her methodical, scientific mannerisms, her limited written messages to a boyfriend off-planet, or her stilted conversations with newcomer Micah.  We know she wonders about artwork off in a museum in a territory that is deadly, but so what?

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