In Atlas, Jennifer Lopez performs a counterterrorism analyst who life for her get the job done — you know the variety. Atlas Shepherd is the kind of female who alienates her colleagues with her terse perspective and then wows them with her competence, who falls asleep on the couch in front of her chessboard at night time, and who wears her hair up in a businesslike twist so that it can arrive tumbling down afterwards. When a unusual excursion into the industry goes mistaken, she finishes up stranded in hostile terrain in the treatment of Smith, a hulking armed forces form tasked with guarding her, and with whom she right away starts off bickering about how best to get property. In the romantic comedy model of this tale, Smith would be played by a John Cena or a Channing Tatum, all muscle groups and highly developed weapons knowledge hiding a sensitive main. The Brad Peyton–directed Atlas is, even so, a science fiction movie, and Smith is a robot. Most specially, he’s a mecha match, powered by a artificial consciousness voiced by Gregory James Cohan, into whose pilot seat the AI-averse Atlas is shoved proper before she crash lands on an alien earth.
Then again, if Her is aspirational to the issue of companies staying ready to hazard lawful repercussions to evoke it, then there is no cause this new motion picture simply cannot be looked at as a rom-com. Atlas has that curious ersatz top quality of lots of a Netflix original motion picture, exactly where it feels like the extended variation of a 30 Rock joke relatively than some thing everyone need to basically be capable to watch, but its cross-genre similarities do appear intentional. When striving to allow for Smith to get to know her far better, for occasion, she confesses to liking the beach front, 3 sugars in her coffee, and “small, peaceful gestures of passion.” Atlas is supposed to be as outstanding as she is guarded, but she’s created specifically like a person of these tightly wound ‘00s-period heroines who’s needed to be put by pratfalls and slash down to size just before she’s viewed as in good shape for adore. When she comes to inside Smith immediately after a brutal arrival, she impatiently bypasses the set-up and blunders her way into a French language option prior to ending up with a default voice whose suggestions she rapidly ignores.
Three many years back, an android named Harlan (a blue call lensed Simu Liu), went rogue and waged war on humanity prior to fleeing with his allies to house. Atlas is obsessed with catching him, for good reasons that are step by step discovered to be really own. But in order to obtain all her mech’s skills, she desires to sync her thoughts to Smith, a meld they wrestle to realize, and not since of general performance issues on his facet. Freighted with trauma likely back to her childhood, she’s as well emotionally constipated to open up ample to seal the offer.
Subsequent Lopez’s acting profession is an exercising in frustration. In Out of Sight and Hustlers, she’s incandescent with charisma — a real star, much larger than everyday living, 2 times as glamorous, and endlessly watchable. But most of the roles she’s finished up in squander all those attributes, if they showcase them at all. She’s slipped from getting a rom-com queen to leading a procedural to dithering with a change towards action, but in jobs that have felt progressively dinky and downmarket for what she’s established capable of. Atlas — like her past Netflix film The Mother, like Shotgun Marriage and Marry Me — is a movie she made as nicely as acted in, suggesting that even when she’s extra actively included in choosing out jobs for herself, she’s also not entirely absolutely sure what she’s intended to be undertaking on display screen. She wavers concerning actively playing her character with some degree of psychological realism, her lip quivering in despair as she tries in vain to get in touch with her colleagues, and going entire screwball in times like the a person in which she discovers she broke her leg, howling “I really will need you to shut up right now!” at Smith. Lopez is unable to determine whether Atlas is a significant entry in the action canon or a B-movie.
Atlas does not really end up remaining both one particular, getting both equally far from major and also missing any of the disreputable pleasures you may well hope to uncover in a B-movie. Atlas has the slick, textureless sheen of a cutscene from a online video recreation we never get to engage in, an association on which the film doubles down when Atlas pages through Smith’s weapon’s stock. Lopez, who spends 50 percent the motion picture as a deal with surrounded by equipment, seems misplaced in a sea of pc graphics, one thing which is even more genuine of her costars Liu and Sterling K. Brown, who performs mission head Colonel Elias Financial institutions. When, sometime not so extensive from now, Netflix begins serving up personalised AI-produced sludge written content based on each of our viewing histories, it almost certainly will not glance all that different from Atlas, which hardly seems to be like it was designed by people in any case. But the position of Atlas is not to make its actors glimpse big — it is to remind us that AI is our close friend, even when it sometimes attempts to exterminate us, and that we must get above ourselves and our tetchy objections.
