The plot: In Johannesburg, robotic police enforcement has become viable thanks to the technological designs made by Deon (Dev Patel). After one of his robots malfunctions, Deon uses it to test an experimental artificial intelligence he has been working on, turning it into Chappie (Sharlto Copley). As he is taken under the wing of street gangsters Ninja and Yolandi, and rival engineer Vincent (Hugh Jackman) wants to sabotage Deon’s work and get rid of Chappie and the rest of his models in favour of his own robot enforcer, Chappie learns about the world around him and must figure out where he fits into it.
This is a pretty wonky cast, with some actors being very
well casted and others being rather bizarrely miscast. Dev Patel does a good
job as the overly eloquent and technical Deon, sounding a lot more natural here
than he did in either of the Marigold Hotel movies. Sigourney Weaver… is in
this movie, if I remember correctly (Yeah, she leaves that little an impact in
her rather stock role). Hugh Jackman, an actor better known as the rugged good
guy or at least the anti-hero, is completely out of his element as the
antagonistic technophobic religious zealot Vincent. Jackman’s understanding of
being the bad guy seems to extend only as far as taking a giant wrecking ball
to the scenery, making his upcoming role in Pan look like an exceptionally bad
call if this is anything to go by.
Sharlto Copley as Chappie embodies that kind of childhood innocence and awkwardness that is pretty much standard for this kind of robot character, but he’s very good at portraying that. Why there are so many people comparing him to the avatar of all things wrong with George Lucas’ brain that is Jar-Jar Binks, I still don’t know; you need perspective and maybe a bit of common sense if you honestly think he comes any close to the same galaxy as Jar-Jar.
Sharlto Copley as Chappie embodies that kind of childhood innocence and awkwardness that is pretty much standard for this kind of robot character, but he’s very good at portraying that. Why there are so many people comparing him to the avatar of all things wrong with George Lucas’ brain that is Jar-Jar Binks, I still don’t know; you need perspective and maybe a bit of common sense if you honestly think he comes any close to the same galaxy as Jar-Jar.
However, the most surprising part of the entire cast is
Ninja and Yolandi of Die Antwoord, and if their lack of attached actors in the
plot breakdown looks suspicious, that’s because they are essentially playing
themselves. I was initially worried upon seeing them in the trailer for this
movie, and became even more so considering the trailer severely downplays how
much of a prominent role they both play in the movie, but it gradually began to
make sense to me. Die Antwoord may be an internet meme masquerading as a rap
group but Ninja and Yolandi are essentially characters themselves, making their
appearance in this film justifiable. Add to that their overblown depiction of
‘gangsters’, along with the South African setting, and they fit into the film
astoundingly well. Yolandi, in her music at least, has always creeped me the
hell out; something about that high-pitched alien voice of hers has made me all
kinds of reluctant to check out her music voluntarily. However, we don’t get
that here at all, definitely a better decision considering she is Chappie’s
surrogate maternal figure and unless this was gonna be some kind of sci-fi
remake of Mommie Dearest, going all Rich Bitch was not going to be a suitable
fit for this film. Ninja, while being decidedly thick, works as a great
counterpoint to Yolandi and representing one of the uglier paths Chappie could
go down. Walter Jones has had plenty of experience playing up the ultraviolent
tendencies that the character encapsulates and he pulls them off to great
effect.
“Chappie Five… is ALIVE!” It’s seriously difficult to talk
about this film’s plot and not bring
Short Circuit at some point, to the point where I suspect that the only reason
Dev Patel isn’t using the accent he put on the Marigold Hotel movies just to
avoid further comparisons. However, for the sake of avoiding what I’m sure is
well-trodden ground by now, I will avoid the obvious jokes (aside from the one
this paragraph started with… dammit) and instead focus on how the writing here
is a bit of a mess to say the least. The idea of a form of artificial
intelligence growing to the stage of being close to or identical to humans is
as old of science fiction itself and the film seems to be aware of this. For
one, there’s a scene involving Deon and Weaver’s Michelle Bradley where Deon is
explaining what his AI could be capable of, focusing on the more artistic
capabilities. Michelle then shoots down his pacifist ideals by explaining that
she runs a weapons manufacturer; it’s a cute little moment that feels like the
film is poking fun at its own sub-genre, which helps even out the weirdness
brought on by Die Antwoord’s mere presence in this movie.
For another, the film makes that little an effort to really discuss the question of where the line between artificial and real intelligence is and just assumes that the audience will recognize Chappie as real. This isn’t helped by the fact that the main person arguing this point, Vincent, is so over-the-top that I was expecting a twist where he was a prototype AI robot that had gone insane; seriously, it would more sense if this were the case but alas. That’s not to say that this film feels completely unrealistic; far from it, as a lot of moments sell the core idea of the film astoundingly well. Whether it’s the little things like the military computers still running Microsoft XP or the bigger additions like the superbly done CGI and motion capture for Chappie, this film somehow managed to keep me convinced throughout… despite the occasional bizarre moment, like having multiple PS4s act as a server to store a person’s consciousness. Honestly, I don’t know what’s the weirder showing of product placement: This, or the Xbox 360 time machine in Project Almanac.
For another, the film makes that little an effort to really discuss the question of where the line between artificial and real intelligence is and just assumes that the audience will recognize Chappie as real. This isn’t helped by the fact that the main person arguing this point, Vincent, is so over-the-top that I was expecting a twist where he was a prototype AI robot that had gone insane; seriously, it would more sense if this were the case but alas. That’s not to say that this film feels completely unrealistic; far from it, as a lot of moments sell the core idea of the film astoundingly well. Whether it’s the little things like the military computers still running Microsoft XP or the bigger additions like the superbly done CGI and motion capture for Chappie, this film somehow managed to keep me convinced throughout… despite the occasional bizarre moment, like having multiple PS4s act as a server to store a person’s consciousness. Honestly, I don’t know what’s the weirder showing of product placement: This, or the Xbox 360 time machine in Project Almanac.
With the questions involving AI pretty much discarded, the
film instead chooses to focus on creating an allegory for the relationship
between God and Mankind using Deon and Chappie respectively. The only problem
with this is that this question also
takes the backseat to everything else going on, from the well-done fight scenes
to the unnecessarily subtitled gangster Hippo (Brandon Auret); then again, I
imagine it would be hard to focus on deep philosophical questions when you’re
looking at gunfights with literal pink pistols and other pastel-coloured
weaponry. For the most part, we’ll get a couple of lines between Chappie and
Deon to further their relationship, but honestly I felt more of a connection
between Chappie and Yolandi, whose interactions actually got me to tear up on
more than one occasion. That is, until the ending… and it is here that my brain
just exploded. This ending shows off the God and his Creation allegory in quite
possibly the most brilliant way I have seen in any medium, even considering how
often it is used in stories like this. *SPOILERS*
Maybe it’s down to differences in philosophical leanings, but I have always
understood Man’s connection with God to be like the M.C. Escher sketch Drawing
Hands: God created us in his image and as a reflection of himself, and we in
turn imagine God in our own image and a reflection of ourselves; like two hands
drawing each other. This idea is perfectly conveyed with the film’s ending,
showing off the kind of insanely insightful thinking that I wish the rest of
the film utilized. I don’t want to give away exactly how this goes down, but
I’ve strongly hinted at it enough here so I put the *SPOILERS* tag on here just to be safe.
All in all… honestly, I find myself in the same position I
was in when I started writing this; this might be the most uneven cinematic
experience I’ve ever had. On one hand, the action scenes are great, the effects
work is superb and the ending is absolutely amazing (if slightly terrifying
because of the final shot), but on the other hand, the characters are so
broadly written that they could touch both ends of a football field, the acting
is great in some parts but clichéd and hammy mostly and the story touches a lot
of points seen in several other films. I guess when it all comes together, it’s
a pretty dumb but fun ride that ends on a jarringly intelligent note.
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