Jennifer Lopez reunites with Netflix to take on the Sci-Fi genre in her latest film, “Atlas.” Brad Peyton directs the film from a script by Aron Eli Coleite and Leo Sardarian. Atlas Shepherd (Jennifer Lopez), a brilliant but misanthropic data analyst with a deep distrust of artificial intelligence, joins a high-stakes mission to capture Harlan (Simu Liu), a renegade robot with whom she shares a mysterious past. This mission, crucial for the survival of humanity, is fraught with danger and uncertainty. But when plans go awry, her only hope of saving the future of humanity from AI is to trust it.
In a time where AI is all the rage, it only made sense that we would get another AI-themed film with an A-List star in the lead. Usually, I try to give Mrs. Lopez the benefit of the doubt, but she lets me down with her latest film. As the narrative unfolds, it’s clear that J-Lo is overhead. I honestly preferred the brief screen that Sterling K. Brown has, and he would have made for a more formidable foe against Harlan. As our villain, Liu has a solid turn, and I wouldn’t mind seeing him play another antagonist. The director and writers attempt to thrust viewers into a world where the distinction between man and machine blurs, raising thought-provoking questions about the nature of consciousness, trust, and the future of technological advancement. Atlas’ internal struggle adds layers of depth to the storyline as she grapples with her own biases and fears while navigating a rapidly evolving landscape fraught with uncertainty, but again, J-LO doesn’t bring it.
The film’s tension builds steadily, which may test the patience of viewers wanting a faster-paced film. As the mission takes unexpected twists and turns, it’s clear that a climactic showdown will force Atlas to confront her deepest convictions. However, the dynamic between Atlas and the renegade robot is nothing we haven’t seen numerous times before, with their interactions following a predictable pattern of conflict and eventual understanding. I will give the film kudos for exploring themes that resonate with contemporary AI ethics concerns and the potential consequences of unchecked technological progress. With another actress or even Sterling K. Brown as our lead, “Atlas” could have been an immersive cinematic experience that challenges viewers to reconsider their preconceptions about artificial intelligence and the future of humanity.
Despite our star’s lower lead performance, a touch of philosophical depth will spark conversations long after the credits roll.
Final Grade: C
“Atlas” arrives on Netflix tomorrow.
Martial arts auteur Siyu Cheng delivers his latest action-packed fest in “The Tai Chi Master” from Well Go USA. The Tai Chi Master” examines the journey of Zhang Junbao, a dedicated disciple of Wuji, who emerges as a crucial figure during significant upheaval.
On a musical level, the documentary is a library of Williams’ great works. It’s dramatic performances of his most famous songs, such as the classic “Star Wars” marches, the grand piano music from “Jurassic Park,” and the melancholy music from “Schindler’s List.” Each song is part of a narrative, a call to revisit old films and remember their heart-wrenching connections. Its thrilling finale (which celebrated his work on “Harry Potter”) also underscores the longevity of his music among audiences today.
Megan Fox teams up with director S.K. Dale to bring her feminine wiles to the world of A.I. in “Subservience” from XYZ Films. Will Honley and April Maguire wrote the film’s screenplay. Alice (Fox) is a lifelike, artificially intelligent android who can care for any family and home. Looking for help with the housework, struggling father Nick (Michele Morrone) purchases Alice after his wife Maggie (Madeline Zima) becomes sick. Alice suddenly becomes self-aware and wants everything her new family has to offer, starting with the affection of her owner — and she’ll kill to get it.