Alex Proyas
2004
Watched: 01/20/24
Grade: B-
I have to admit that I’m nowhere near as familiar with the work of Isaac Asimov as I should be; Foundation is the only novel of his that I have read, so I have no idea what resemblance, if any, this movie bears to the works that inspired it. However, as I try not to use faithfulness to its source as a major determiner of quality in an adapted work, I’d like to think that even had I read Asimov’s iconic works my opinions about the movie would be unaffected.
That being said, this is my first viewing since its original theatrical release, and I was surprised how little I remembered. What is found here is a really interesting mystery, a near-future science fiction setting, and some truly wonderful thematic questions.
As a through and through Star Trek fan it is of course these questions that draw me so completely to this work. The weakest and least explored is Detective Del Spooner’s(Smith) argument that robot labor will replace human craftsmanship. Spooner brings it up by way of expressing his disaffection with the business practices of U.S. Robotics(USR), but, unlike his distrust of robots, this objection doesn’t seem to have a basis in his past experience and has no long term effect on the narrative. More pressing is humanity’s blind trust in the convenience and apparent safety provided by its robotic servants. Spooner who, owing to his higher likelihood of survival, was rescued from drowning in the aftermath of a car wreck at the expense of the life of a young girl. What’s fascinating is that Spooner never argues the logic of the robot’s choice, but rather that the robot’s slavery to the dictates of logic makes it unable to realize that trying to save the girl was worth the effort regardless of the increased chance of losing two lives. What follows is a captivating scenario where Spooner alone sees the robotic logic as a veil behind which lies great danger.
The moral and philosophical implications of this thought are so staggering and numerous that it’s rather difficult to organize my thoughts in a cogent manner. In short, the argument becomes that while the things that make us human are not a guarantee of goodness, without them goodness becomes something of which we are incapable. Beyond that, blind trust in the reliability of logic leads to a sense of safety that is all but imaginary. The ultimate demonstration of this theme comes as Sonny(Tudyk), a robot unique in having been created with emotions and dreams, is able to make moral decisions whereas VIKI, the artificial intelligence that controls the robot operating systems, is not. It may not be fair to judge the thematic breadth of Asimov’s work based on a single novel, but I would be shocked to find that this theme would be a focal point for the author of Foundation, and I suspect this indicates a loose relationship with the source material.
Intriguing philosophical questions that will keep a mind busy long after the film fades to black are not the only draws however. The design of the near-future is interesting and engaging(especially since we are closer to the setting, 2035, than we are to the release,2004). There’s even a charmingly prophetic moment when Dr. Susan Calvin(Moynahan) tries to give voice commands to Spooner’s physical media music system.
The acting and dialogue are solid without expecting much of its actors leaving most of the room for a strong mystery and action set pieces. The one exception to this is a very well delivered monologue delivered by Spooner recounting the accident which cost him his arm and his faith in humanity’s robotic creations. Smith’s charisma as a leading man is undeniable even if his casually dressed defiant attitude makes it hard to imagine him as a professional detective. It’s almost as though the narrative wanted Spooner to have the advantage of access that comes with being a member of the official police force and the behavior and attitude of a noir private detective. Bruce Greenwood’s turn as USR’s corrupt CEO Lawrence Robertson is a bit one-note through no fault of his own as the script does not give him much more to do than twirl his mustache so to speak. Alan Tudyk does extremely well in investing Sonny with pathos, and James Cromwell and Briget Moynahah do good service standing in for the moral voice of the scientific endeavor.
The action scenes have a tendency to feel overblown and can certainly strain credibility on occasion. The smaller scale fights(such as Spooner’s duel with a single rogue NS-5 after the chase scene in the tunnel) were far more impactful and exciting than the large set pieces like those where Spooner and Calvin shoot at hordes of onrushing robots. Tangentially, I was not a big fan of the design of the NS-5, but that is not a critique so much as a matter of personal preference.
It is rare to see a well paced action movie with a good mystery, relatable characters, and (most shocking of all) thematic unity. Some special effects have aged poorly but do not redound seriously to the film’s detriment, and there are a few questionable camera choices. This is an entertaining movie that will challenge a viewer who wants to give its message a second thought. More than worth a watch.
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