Robotic 'Chappie' asks big questions
Chappie is meant to inspire questions about what it means to be human, and at times it does.
However, director and co-writer Neill Blomkamp doesn't explore its intriguing premise deeply enough (* * ½ out of four; rated R; opens Friday nationwide).
It's hard to avoid high expectations given how brilliantly Blomkamp crafted 2009'sDistrict 9. He injected a powerful social conscience into a sci-fi tale of an alien invasion, then delivered Elysium in 2013, an enthralling tale set in the near future that explored immigration, but felt half-baked.
Also set a few years from now, Chappie has a lot on its mind. But some ideas go astray. Others gets obscured in elaborate action scenes. Potential goes unfulfilled.
The best thing
is the title character, a sentient robot voiced and performed, via motion capture, by
District 9
star Sharlto Copley.
Before audiences meet Chappie they are introduced to legions of robo-cops who patrol Johannesburg. These autonomous droids are known as Scouts and are under the command of human officers. Crime has dropped significantly since the Scouts joined the force.
Sigourney Weaver plays Michelle, the CEO of the corporation that creates the police droids.
One of her employees is the militaristic Vincent (Hugh Jackman, in the worst mullet since Billy Ray Cyrus').
Vincent is gung-ho to release "Moose," a hulking robot that will not only crush lawbreakers, but launch full-scale war.
Deon (Dev Patel) is an idealistic engineer obsessed with developing a thinking, feeling robot. After much experimentation, he succeeds in creating Chappie, a sentient machine, complete with a full range of human characteristics, and more of a moral compass than the humans around him.
This machine is stolen by underworld thugs who think he's merely a police droid, not realizing they have taken an innocent child of sorts.
A pair of South African rappers unconvincingly play gangsters Yo-landi and Ninja (those also are their rap names). They're joined by their accomplice Amerika (Jose Pablo Cantillo). Ninja and Amerika plan to use Chappie to help them with a deadly heist.
The concept is undeniably compelling, but portions of this dystopian action thriller begin to feel like a video game.
Copley's Chappie is endearing, poignant and admirable. However, Blomkamp has loaded the film with caricatures, particularly the villainous sorts.
Chappie's thuggish captors try to teach him to be a low-life, but Deon urges him to be creative and ethical.
Watching Chappie go from what is essentially infancy to adolescence is fascinating. Though impressionable, he is innocent despite being reared in seedy criminal environs. He brings out the maternal nature in Yo-landi almost overnight, which is hard to buy. But we do believe in Chappie. As he struggles to do the right thing, he's on his way to becoming wiser than humans.
The film raises issues of nature vs. nurture, as much as it explores the notion of artificial intelligence. It also delves into the human inclination to manipulate and corrupt innocents.
As Blomkamp melds big ideas with breathtaking action, the forces are sometimes at cross purposes. Scenes of thugs gone wild are extreme and almost silly. Drawn-out violent sequences grow wearying.
Chappie is at its best as a character study. The titular character is the most endearing robot since WALL•E. Where that animated film made a dramatic social statement, Chappie gets mired in too many menacing subplots with cartoonish bad guys.