I Am Mother (2019) Review:

Science fiction futures are becoming more of a reality every day. Technology is becoming smarter, quicker, more dynamic and more independent. While most of these attributes are good things, for every plus comes a negative, or vise versa. For all the science fiction films that brought audiences cute and happy Johnny Fives from Short Circuit (1986), there will always be a T-800 from James Cameron's The Terminator (1984). It's something that us humans need to be mindful of every time we tinker with these artificial intelligent contraptions. If we're not careful, as many public figures have expressed, we humans may be responsible for our own undoing. Which is pretty much how this film starts off.

Mother robot

In a not so distant future, viewers are introduced to a sentient robot who calls herself mother, voiced by Rose Byrne. There she artificially conceives a baby using enhanced biotechnology. Time passes and we learn that things have become rather rotten outside and Mother doesn't want her daughter (Clara Rugaard) to go outside. But like any young adult, her curiosity gets the better of her. More specifically, when an outsider gets her attention played by Hilary Swank. This new introduction in the daughter's life begins a battle between who is telling the truth. Both the female stranger and her mother begin saying things that seem questionable. The question is, who is more right, or, right at all for that matter?

The script was written by Michael Lloyd Green who had only written for two short films before this. The same could be said for director Grant Sputore, who had only worked on one short and the Castaway series. However, things seemed to turn out okay because of the limited cast for this production. Most newcomer directors and writers have a harder time when big name stars, studios or productions are involved. That's not the case here though. Both Green and Sputore use their limits to the max by providing a tightly knit story with several layers of thought provoking commentary on human morals and where the decisions are no longer a yes or a no. Situations are not always two choices.

Yet, the one thing the screenplay does not do justice for the film are the results of those decisions. There are a few vague setups that are open for interpretations that aren't exactly clear. This can be frustrating for viewers who will want some kind of resolve for various things. Really though, this is the only weak point within the movie. The actors cast for this feature do a competent job. Luke Hawker who plays the physical movements of Mother does a good job. Even without a face, expression can be understood through body language. The same could be said for Rose Byrne who voices Mother. Her vocals are not only soothing, but quite impressive for a robot who has one eye like that of Hal 9000 from 2001: A Space Odyssey (1968).

"So,....you gonna help me get out?"

Clara Rugaard and Hilary Swank also work well on screen together. Swank is obviously a veteran in her career but Rugaard plays a second best to her. Rugaard has also been in Teen Spirit (2018). As for the visuals, the special effects were very believable. Mother is quite a piece of machinery, kudos to the person who designed her. The cinematography by Steve Annis was good too, considering he's only shot for Kissing Candace (2017). The film score was also very appropriate, mixing synthesizers and classic orchestral components, making the story that more engaging. Composing the score was duo Dan Luscombe and Antony Partos; both have had their fair share of projects.

Vague setups left for interpretation is probably the only shaky area to this feature. The cast, music, camerawork, effects and underlining themes are the soundest parts a viewer will come across in this intriguing sci-fi thriller.

Points Earned --> 8:10