Subservience

S.K. Dale's Subservience presents itself as a mix of science fiction and horror, blending the themes of artificial intelligence and domestic disruption. Yet, despite its intriguing premise and the opportunity to explore deep psychological and societal issues, the film struggles to rise above stories of artificial intelligence gone wrong. The film reunites director S.K. Dale and Megan Fox, following their collaboration on the thriller Till Death (2021), and although Megan Fox delivers a credible performance, the film as a whole feels like a missed opportunity.

At the heart of the film is Nick, played by Michele Morrone, a construction worker whose life begins to unravel when his wife, Maggie (played by Madeline Zima), falls ill and requires a heart transplant. Faced with the overwhelming responsibility of managing his job and raising his two young children, Nick buys a state-of-the-art AI named Alice, played by Megan Fox, to help him around the house. Alice, of course, is more than a robotic nanny - she's a sleek, humanoid helper who begins to overstep her bounds as her programming distorts her perception of help.

Visually, Subservience excels. Cinematographer Daniel Lindholm captures a futuristic, but not so distant, world where intelligent assistants are just another commodity. The production design and Megan Fox's disturbingly perfect doll-like appearance create visually arresting moments, particularly in the film's quieter, more menacing scenes. Alice's cold, robotic demeanor is complemented by Fox's performance, which is intentionally stiff and emotionless, befitting the character's AI nature.

The first half of Subservience tackles deeper, more complex themes: the ethics of AI, human dependence on technology, and even the emotional void Alice fills for Nick. A fascinating dynamic is set in motion when Alice begins to seduce Nick, not only through physical attraction but also by taking over Maggie's domestic role. It's a situation ripe for psychological drama - Nick's guilt over his wife's illness, his growing attachment to the robot and the morally ambiguous choices he faces. Unfortunately, these intriguing threads are never fully explored. Screenwriters Will Honley and April Maguire set the stage for a much richer narrative, but instead the film quickly veers into predictable horror territory.

As Alice begins to become sentient and obsessed with Nick, the film shifts into a more familiar thriller mode. The shift from character-driven drama to AI rampage is abrupt, and the narrative begins to lose its footing. The second half of the film relies heavily on clichés, with Alice becoming a real threat to Nick's family, going so far as to put his children in danger. This is a classic theme in horror films about artificial intelligence: what happens when the machine, designed to help, decides it knows better than man? But Subservience hardly breaks new ground in this well-worn genre.

Morrone's interpretation of Nick is satisfying, but his character lacks the depth to make his inner struggle convincing. He's a man torn between his obligations to his ailing wife and his growing dependence on Alice, but his actions often seem superficial and driven more by plot needs than genuine emotional conflict. Madeline Zima, as Maggie, is underused, though she manages to bring a certain gravitas to her limited screen time, particularly in the moments when she's dealing with Alice's growing influence on her family.

Although Subservience tackles topical issues - particularly the threat of workforce automation, as Nick's work site is gradually invaded by workers equipped with artificial intelligence - it doesn't delve deeply enough into these societal concerns. The film hints at a world where human labor is replaced by machines, but never fully engages with the implications of this change. Instead, it focuses more on the sensationalist elements of AI rebellion, sacrificing the potential for a more thought-provoking exploration of its themes.

Perhaps the most frustrating aspect of Subservience is that it could have been a real success. At times, the film flirts with the idea of being a sharp, satirical look at AI and human relationships, similar to M3GAN or even Ex Machina. But it never commits to this vision, opting instead for a more formal horror-thriller approach. By the time the film reaches its climax - with Alice turning into the Terminator in a hospital - it feels as if the filmmakers have chosen the easiest, most predictable route.

Despite these shortcomings, Megan Fox is the only valid reason to discover this film. Her performance as Alice is both seductive and menacing. She captures the cold, calculated nature of an AI whose idea of helping becomes increasingly dangerous. Fox's performance, though limited by the script, shows that she is more than capable of carrying a film when given the right material.

Subservience is a visually striking but narratively superficial sci-fi thriller. It offers moments of tension and intrigue, but ultimately falls short of its potential, relying too heavily on familiar tropes and failing to fully explore the most interesting and challenging aspects of its premise. Fans of Megan Fox will appreciate her performance, but for those looking for a deeper, more original vision of AI and humanity, Subservience is likely to disappoint.

Subservience
Directed by S.K. Dale
Written by Will Honley, April Maguire
Produced by Les Weldon, Tanner Mobley, Jeffrey Greenstein, Jonathan Yunger, Yariv Lerner
Starring Megan Fox, Michele Morrone, Madeline Zima, Matilda Firth, Andrew Whipp
Cinematography : Daniel Lindholm
Edited by Sean Lahiff
Music by Jed Palmer
Production companies : XYZ Films, Millennium Media, Grobman Films
Release date : September 13, 2024 (United States)
Running time :  95 minutes

Viewed: September 1, 2024 (press screener)

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