It’s nice to see there are still angles to explore in the “rogue AI” genre. As well as the “people in a bunker” genre. I Am Mother straddles both by suggesting a maternal robot — that may or may not be a rogue AI — programmed to repopulate post-apocalyptic humanity by cultivating thousands of embryos stored in a sealed bunker. It will start with one little girl. With Rose Byrne’s voice, a nifty production design for a robot that smiles, and a promising newcomer as the daughter, I Am Mother has all it needs down here.
The movie begins with an infant. As older children were swapped in during the expected growing-up montage, I was worried we were headed for Alicia Vickander. But just as the children started looking like Vikander, I Am Mother stopped short with a capable young actress named Clara Rugaard. She carries most of the movie on her own, which is no mean feat. Her job is a lot like Sophie Thatcher’s in Prospect, but harder because she doesn’t have Pedro Pascal tagging along. It’s just her and Rose Byrne’s carefully modulated voice piped in over a lumbering robot that looks barely a generation past what Boston Dynamics has been doing.
As the movie proceeds, it’s confident you’re smart enough to see the twists. It knows you know math, it knows you understand casting decisions are never random, and it knows you know how AIs work. In fact, it’s so confident you see the twists that it doesn’t even play them as reveals. So if you’re awfully proud of yourself for guessing what’s going on, you’re watching the wrong movie. A lesser movie would be about these reveals. I Am Mother is instead about the motivations and decisions behind them.
In fact, the final shot is a bit much. It’s almost as if the movie is asking you if we’re done here. “You’ve figured it out, right?” it asks. “Right?” Sometimes being maternal involves a little finger wagging. Yes, I Am Mother, I understand today’s lesson. Sheesh, Saturn 3 was never this strict.
I Am Mother is currently available on Netflix.