The director of Hunt for the Wilderpeople and Jojo Rabbit turns Kazuo Ishiguro’s AI fable into a twee, tiresome tale of love and grief
Taika Waititi detonates an explosion of postmodern quirkiness and ironic dorkiness in this unbearably mannered, unspeakably acted film. It’s a slice of sentimental whimsy-futurism and non-satire, adapted by Waititi from the Kazuo Ishiguro novel, which winds up saying nothing substantial or meaningful (or funny) about artificial intelligence, love or grief. Klara and the Sun is soft-centred sci-fi-lite, simultaneously demanding we laugh at its (unfunny) humour and wipe away a tear at its pass-agg poignancy. With earlier films like Hunt for the Wilderpeople and Thor: Ragnarok, Waititi showed he can do comedy. But this, sadly, is closer to his notorious fey-Hitler fantasy – misjudged and self-admiring.
In the world to come in an uncanny valley of the almost-real, families can buy “artificial friend” or AF robots for their kids. In terms of tech plausibility overall, incidentally, their status isn’t entirely clear: AF salesperson (Natasha Lyonne) says that the recent third world war has wiped out the internet. (This post-WW3 world looks in pretty good shape apart from that.) And these AF humanoids incidentally have a kind of purple blood called PEC-9 running through them which one character incidentally tells us is “highly flammable”. (Uh-oh. Quite the design fault.)
