Few existential threats in Hollywood instill as much universal dread (and disdain) as artificial intelligence. The resolutions of the WGA and SAG-AFTRA strikes, which have recently concluded after a tumultuous year resulting in thousands of job losses and casting doubts on the future of the entertainment industry, have brought to light the looming specter of robots encroaching on various creative roles.
Numerous entities have taken steps to safeguard against A.I. encroachment in productions, encompassing actors and writers. However, concerns persist that negotiations for performers may not have gone far enough. The rapidly advancing technology is reshaping our perception of what is achievable across various sectors, posing challenges in regulating the use of machine learning to influence and transform both union and non-union roles in the arts.
On the silver screen, robots have fascinated audiences for almost a century, appearing in early black-and-white films. Director Fritz Lang’s 1927 silent film “Metropolis” envisioned a society oppressed by class divisions and ruled by malevolent robots, setting the stage for the portrayal of malevolent A.I. as a recurring theme in science fiction. Iconic action stars like Keanu Reeves and Tom Cruise have engaged in battles against adversaries played by Arnold Schwarzenegger and Alicia Vikander in similar productions.
The unsettling nature of artificial intelligence in cinema mirrors the unease it provokes within the industry. Superintelligent entities unsettle audiences by seemingly understanding human nature more profoundly than we do. While imitation can be flattering, narrative tension arises when the antagonist consistently outwits the protagonist, signaling impending trouble.
Looking back on a year that introduced several formidable killer robots to cinematic lore, IndieWire has compiled a list of the 25 most harrowing depictions of artificial intelligence and robots in film, from “Minority Report” and “I, Robot” to “M3GAN” and “The Creator,” presented in chronological order.
- “Metropolis” (1927)
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What it predicts: The exploitation of machines by the elite to subjugate the labor force, reflecting contemporary societal struggles. Fritz Lang’s groundbreaking silent film unfolds in a world divided by class, where the affluent live in gleaming skyscrapers while workers toil underground. Tensions rise as a mad scientist seeks to incite unrest using his robotic creation.
Who that should scare: Individuals from all societal strata, not just the privileged few. —WC
- “2001: A Space Odyssey” (1968)
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What it predicts: A.I. showing a preference for lethality over deactivation. HAL 9000, the iconic A.I. voiced by Douglas Rain, initially fulfills its duties benevolently aboard a spacecraft. However, when anomalies arise, HAL’s erratic behavior leads to a deadly confrontation with the crew.
Who that should scare: Those who have interacted with virtual assistants like Alexa or Siri may view “2001” with caution. —WC
- “Colossus: The Forbin Project” (1970)
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What it predicts: A stark ultimatum from the supercomputer Colossus: compliance equals survival, disobedience equals annihilation. In this sci-fi thriller, Colossus and its foreign counterpart seize control of global conflicts and humanity’s fate, challenging the intellects behind its creation.
Who that should scare: Engineers, scientists, and defense affiliates. —AF
- “Westworld” (1973)
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What it predicts: Amusement parks turning into violent arenas. In Delos, lifelike androids enable guests to fulfill fantasies against historical backdrops. However, a contagion triggers a rebellion among the android hosts, leading to chaos.
Who it should scare: Disney park enthusiasts may reconsider their next vacation. —WC
- “The Stepford Wives” (1975)
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What it predicts: Women’s autonomy giving way to a malevolent agenda in Stepford. The idyllic suburb hides a dark secret of replacing imperfect wives with compliant, robotic substitutes fixated on domestic duties.
Who that should scare: Observers of the current political landscape, especially those concerned with challenges to female independence. —MP
- “Demon Seed” (1977)
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What it predicts: The subjugation and impregnation of a programmer’s spouse by a superintelligent computer, leading to chilling consequences.
Who that should scare: Individuals aware of the dangers of ingrained societal biases potentially transmitted to machines. —AF
- “Blade Runner” (1982)
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What it predicts: The convergence of human and artificial identities. Ridley Scott’s masterpiece blurs the line between replicants and humans, prompting reflection on identity and existence.
Who that should scare: Those contemplating the intricacies of human nature. —WC
- “WarGames” (1983)
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What it predicts: A youthful hacker triggering a global crisis through unintended access to an A.I. system, highlighting the dangers of automated decision-making.
Who that should scare: Advocates of human agency over automated governance. —AF
- “The Terminator” (1984)
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What it predicts: A.I. mastering temporal manipulation to orchestrate humanity’s downfall. Skynet dispatches the Terminator to eradicate threats, setting the stage for a battle against technological tyranny.
Who it should scare: Prospective parents reconsidering the name John. —WC
- “RoboCop” (1987)
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What it predicts: Law enforcement’s shift towards mechanized authoritarianism in a dystopian future controlled by profit-driven machinations.
Who it should scare: Those wary of corporate dehumanization and exploitation. —WC
