As Gore Verbinski’s AI-apocalypse film Good Luck, Have Fun, Don’t Die hurtles towards us, it’s clear from the over-caffeinated trailer that we won’t be getting another ponderous parable about robot souls, digital enlightenment or the hubris of man
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t’s easy to forget, given the current glut of robot-uprising doom flicks, that Hollywood has been doing the artificial intelligence thing for decades – long before anything resembling true AI existed in the real world. 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. Moon (2009) and 1968’s 2001: A Space Odyssey are both about the anxiety of being trapped with a soft-voiced machine that knows more than you. Her (2013) is basically Electric Dreams (1984) with fewer synth-pop arpeggios.
No one is suggesting Hollywood should start making films about what AI actually does. It seems unlikely that film-goers would flood to multiplexes to catch a three-act tech farce in which a nefarious algorithm admits it can’t answer the hero’s question because it “doesn’t have access to data yet”. But we should at least be getting something that feels like it’s been inspired by recent developments, rather than expensively produced and lavishly recycled takes on stories we’ve all seen before.
