April Fools | New $350,000,000 film may be the movie of our generation

Warning: Spoilers Ahead! 

The movie of the year, and possibly the decade, was released on Netflix last week. “The Datasphere” starring Chris Pratt as lovably normal Chad Buckingham, tells the classic tale of “military-boy-meets-AI-girl” inside a tantalizing action-sci-fi thriller plot. In a post-apocalyptic world where AI has taken over, Buckingham leads a small squadron from the human resistance into the data center fortress that serves as their AI ruler’s base.

Pratt is on a roll this year, coming off the critical acclaim of “Mercy” and the narrative feat that was “The Electric State.” The latter marked the first collaboration between Pratt and “The Datasphere” directors Joe and Anthony Russo.

Pratt praised the directing brothers at the film’s premiere, which was exclusively available to watch live on Netflix and then immediately deleted from the platform in its entirety.

“I love the Russos, and I love AI,” Pratt said. “I hope this film is the beginning of a long and lucrative relationship. God bless computing. God bless Sam Altman.”

This hope for economic growth is reflected in the budget for “Datasphere.” While “The Electric State” boasted a budget of $320 million, Netflix granted $350 million to the Russos’ second film, a slight increase of $30 million. This high cost shows the great potential of a big-budget cinematic future. With $350 million, you could make four less remarkable films that rely on make-up, practical effects and real sets, such as “Sinners,” or 58 of a less visually appealing and way less-acclaimed film like “Anora.” Putting all this money into a film of roughly the exact same length is a great allocation of funds and will certainly prove to be a prosperous formula for future blockbusters.

While Pratt delivers an Oscar-worthy performance as per usual, the true standout performance comes from Tilly Norwood as EMMA 3.0. EMMA is the daughter of the main antagonist, BR1AN, voiced by Ryan Reynolds. Norwood, who is hailed as the first AI-actress, gives a moving and human performance as EMMA. The young actress has a promising career in front of her, hopefully filled with high-paying roles associated with big names. Norwood is certainly someone that I will be rooting for.

Reynolds’s character serves as the comedic relief, a relatable and humorous face pasted onto the giant supercomputer that Buckingham’s team is trying to reach and destroy. The true villain of the film turns out to be the humans who built and control BR1AN, a totally shocking twist that had me on the edge of my seat as I streamed the movie on my iPhone.

As Buckingham unveils the truth behind the evil, unemotional humans and falls in love with the beautiful AI EMMA, the true thematic core of the film is revealed. Although the heavy special effects and digital backgrounds may make the film’s message a little difficult to follow, “The Datasphere” makes sure we understand. In a heart-racing scene, Buckingham must decide if he should destroy the motherboard controlling all of the AI — EMMA’s family. In a surreal moment, EMMA, who is, of course, brilliantly portrayed by a real-life AI-actress, looks into the camera and delivers a message to Buckingham. 

“AI and humans are all equal! We can coexist!” EMMA said.  

A touching moment like this was so relieving to watch — the film’s themes clicked into place with EMMA’s flooring statement. More movies should spell things out verbatim and make their messages explicit for the viewer to clear up confusion and limit any critical analysis.

Lately, there seems to be a large concern about the industry’s biggest movies not having theatrical releases and going straight to streaming. In my opinion, I don’t see what the big issue is. Films are meant to be entertainment, and what’s better than entertainment delivered right to you in an instant? I want to watch the newest films while in bed — alone and disconnected from society. It seems movie theaters are dying, and I say good riddance! Cinema’s future rests in the safe hands of millionaire creatives with unlimited funds and monopolistic studios with unrestrained AI access.

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