Directed by Princeton Holt (“Chloe”, “Cookies & Cream”), 2050 starts and as the titles run in you’re treated to a montage of sexbots being constructed – at this stage they’re mere mannequins but soon they’ll be chiseled, shapely and beautiful, but, like the bots themselves there is depth to the movie beyond the aesthetics. 2050 delves into the depths of the human condition as the characters blunder through moral mazes worthy of Daedalus.
The start of the film is a bit stilted but serves to illustrate the cracks already showing in the relationship between Michael, David Vaughn (“Shared Rooms”, “Chloe”) and Brooke, Irina Abraham (“Reclusion”, “Sentience”).
The characters develop well throughout the film and whilst the conclusion drawn between Michael and Brooke in the end may not align strictly with everyone’s moral compass it feels like it was right for the characters.
The acting is generally good although Quinn seemed much more like a ‘robot’ than Sophia and I honestly couldn’t say if this was intentional or not.
The soundtrack, which is largely classical music balances the content of the film very well and creates some wonderful tension throughout. The pace of the movie, which seems in time with the music, sometimes feels a little slow though it’s never boring and there is some humour scattered here and then (including what has to be a classic line : ‘he’s an intellectual dildo’).
The artistic direction of the film deserves a mention because the lighting, angle of shot and atmosphere throughout is generally very well considered – there’s plenty of soft focus, shallow depth of field shots here for those of a artistic bent.
Of course the film is not perfect, there are some minor continuity issues here and there but given the subject matter it is refreshing to see that the “adult scenes” have generally been dealt with tastefully and are in context rather than, as other directors may have done, cramming the film end to end with gratuitous nudity and copulating.
Whilst the film does set itself in 2050, beyond the bots themselves it’s hard to believe that this could be 30 years into the future when much of the other technology and transport seems to have barely changed. This is probably the films biggest flaw.
There are lots of moral questions which spring up from 2050 and it does try to be profound but doesn’t quite manage to get there. Maxwell’s, Dean Cain (“Hit The Floor (TV)”, “The Incantation“) speech was supposed to be the moral epiphany bit but I thought it didn’t quite reach the heights it could have done. Still, it’s interesting to think upon muddy moral water in which the characters find themselves and find your own conclusion/justification.
One last thought to leave you with though, given the variety and depravity of human nature, in a world where one can (with some wealth) create a being to represent and act out any fantasy, where are the boundaries and how far does it go?