“Spiderhead” (2022)
Echoes of Ex Machina in this dystopian psychological horror
Based on the dystopian science fiction short story entitled Escape from Spiderhead written by George Saunders and directed by Joseph Kosinski (Top Gun: Maverick, Only The Brave, Tron: Legacy), this recent release on Netflix can be summarily set out and loosely premised via the film’s glossy, shiny and vibrant pink titled opening credits:
Accompanied by Supertramp’s bouncy pop tune The Logical Song, we follow a small private aeroplane as it swoops around an idyllic set of islands in the sun before settling in front of a state of the art yet dystopian, functional and ominous looking building soon to be shown as a “Penitentiary and Research Centre”. Soon the scene is set as alongside a cavalcade of mainly 1980’s hits from The Doobie Brothers, Roxy Music and Hall and Oates among many, many more, this colourful version of Kubrick’s spaceship in 2001: A Space Odyssey is anything but a prison or penitentiary. 30 or 40 inmates cohabit a pleasant, light and airy building, a large kitchen for freshly produced meals, expensive cookware, a barista coffee machine and 1980’s inspired arcade machines and games. There is an “Open Doors Policy” outside “Field Trips”, prisoners are seemingly calm and happy and perhaps pleased to be here rather than completing a more traditional and strict custodial sentence elsewhere, but are they being blinded with the science?
The biggest compliment I can pay Spiderhead (aside from the very pleasing 80’s tinge to the soundtrack) is the immediate parallel I drew with Alex Garland’s fantastic 2014 film Ex Machina. It’s not in any way comparable to the majesty of Garland’s horrific vision of an autonomous and free willed AI view of a dystopian future, but the two central male characters and their developing relationship mirrors that of “Nathan” (Oscar Isaac) and “Caleb” (Domhnall Gleeson) in Ex Machina. For Nathan and Caleb, read “Steve” and “Jeff” here.
And for “Ava” (Alicia Vikander) from Ex Machina, read “Lizzy” here, the real star of our male dominated film and through whom we see the human future rather than the science that blinds us.
Here are your three principal players:
“Steve Abnesti” (Chris Hemsworth) The theme of names continues as the seemingly carefree, excitable and meticulous head researcher insists on being addressed simply by his Christian name rather than a more formal Mister. Every inmate is happy to do so, except one, and there begins a twisted friendship of ostensible prison guard and inmate, researcher and research project, a lonely caged bird and a bird of freedom seeking an escape. Hemsworth is superb as the driven analyst who as well as wanting to “help millions of people” with his pharmaceutical “patch” of five coloured drugs inserted into the small of the prisoners backs, he’s also empathetic and a caring friend rather than a stern, authoritative prison guard figure. Backed by the 1980’s pop tunes he often introduces and joyously sings along to, there’s a reason for this, but what’s more intriguing is his desire to develop a real human connection and friendship with a favourite human experiment, a wanted best friend and ultimate star pupil, “Jeff”.
“Jeff” (Miles Teller) Fresh from an almost unrecognisable yet brilliant role in Top Gun: Maverick, Teller reteams with director Joseph Kosinski here as a man convicted of a horrific drunken and criminal accident that with the addition of the “N-40” drug into his bloodstream (with the levels of happiness administered by Steve via a handheld device akin to a mobile telephone), he escapes to a place of unadulterated joy and bliss. A somewhat star pupil, Teller’s portrayal is eerily similar to that of Domhnall Gleeson in Ex Machina. Insular and self aware, he is also responsive to Steve’s project, an almost observer to his own experiment and the holder of the power as well as the human morality ultimately lacking in his erstwhile controller and master.
“Lizzy” (Jurnee Smollett) Despite the fine acting turns above, here is your star turn of this entertainingly empty science fiction vision of utter dread! Smollett is the beating heart of the film and the very human essence that her counterpart in the oft mentioned Ex Machina, isn’t. Smiling, warm, helpful and ultimately human, and in spite of the “patch” attached to her and her fellow inmates.
Your star of the show.
I didn’t particularly care for Spiderhead but perhaps my cynicism of a medicated and autonomous anti human future was blinded by the wonderful retro music and not the science. The twists are signposted, but there’s a cathartic release and should you be interested or having previously read the article upon which the film is based, it may well prove a worthwhile 107 minutes of your time.
Thanks for reading. Three of my recently published spoiler free reviews are linked below for your perusal:
