「イット・フォローズ」のマイカ・モンローと「デッドプール」のエド・スクレイン共演によるSFシチュエーションスリラー。突如として何者かに拉致・監禁された若い女性ジュリアは、首にチップを埋め込まれ、激しい苦痛を伴う実験を強いられる。一緒に監禁された男女とともに実験室を爆破させて逃亡を試みるが、ロボットに見つかりジュリア以外の2人は殺されてしまう。脱出に失敗したジュリアは、引き続き実験対象として冷酷な科学者アレックスのスマートハウスに監禁されることに。人工知能「TAU」によって管理される彼女は、好奇心旺盛なTAUを味方につけて脱出の機会を狙うが……。
脚本: Noga Landau
音楽: Bear McCreary
制作: Terry Dougas / Dan Kao / マイカ・モンロー
撮影監督: Larry Smith
制作会社: Phantom Four / Addictive Pictures / Kaos Theory Entertainment / Rhea Films / Waypoint Entertainment / Hercules Film Fund
Tau artificially misuses its intelligence through undeveloped triangular concepts. Remember ‘Ex Machina’? The simple concept of questioning the state of existence between humanity and artificial intelligence. Whether a sentient entity can reach transcendence or remain restrained within the limitations of their code. How about ‘Her’? Injecting emotional resonance to the artificial intelligence by making them sound and feel almost human. Two stellar features that illustrate the experimentation of AI capabilities. Then comes Netflix’ exclusive Tau. A streetwise woman kidnapped and secluded as a test subject for a scientist who is researching the human mind in order to produce AI. A cross between an Escape Room game, any kidnapping crime thriller and conscientious existentialism. The problem with this interpretation of said intellectual code, is it’s boring. Vehemently dull to the point where you are wanting something to take you by surprise. Wishing for some sort of twist to smack you across the face with robotic hands. It’s by-the-number narratively speaking. Woman is kidnapped, woman must try to escape the clutches of Skrein’s mundanely miscasted scientist, where woman then befriends a wall by reading poetry and listening to classical music. What’s on this wall you may ask? A triangle. Much like ‘Oblivion’, this three-sided geometric shape is now associated with sentience. Relating to the Illuminati perhaps? Regardless, does not matter. For the vast majority of the second and third act, Monroe’s gloriously wasted talents were used to humanise this floating triangle, which for all intents and purposes, actually works in conjuring an emotional connection. Then, before the shoddily explosive conclusion that diminished the semi-intellectual approach beforehand, Pyramid Head has code randomly removed (because that’s how computing works...) and so all characterisation that was meticulously built up for the past forty minutes, dissolved into nothingness. Poof! Gone! Tau, the actual name of the musically-inclined triangle, was the only “character” to have significant development. Even when it attempts to question humanity and what it means to be a “person” in the most basic form available. Monroe’s expositional memory flashbacks? Nope. Skrein’s constant moping around? Nah. So to essentially erase Tau’s character was frustrating more than anything. It made the entire conclusion worthless and one-dimensional. The visual effects and overall production were decent considering the small budget, replicating modernised architecture exquisitely. Which further infuriates me due to the lack of care that went into the plot, characters and inconsiderate pacing. Cold as code! Admittedly I did nearly fall asleep due to the repetitious nature of the narrative, mostly consisting of Skrein failing to meet a deadline whilst Monroe begs Mr. Triangle to let her escape willingly. So I guess if you’re having trouble sleeping, and you desire a quick remedy, stick on Tau.
TAU starts off with an interesting premise but quickly falls into predictable territory. The plot feels like a blend of familiar sci-fi tropes without much depth to set it apart. The directing is competent, keeping the pacing steady, but the script drags it down with forced dialogue and questionable logic. The AI concept could have been compelling, but the way it's handled makes it hard to take seriously, especially with how inconsistent its intelligence is. The interactions between the AI and protagonist feel more like a necessity to stretch the runtime rather than something truly engaging. That said, the cinematography is a standout, with well-crafted lighting and a stylish color palette that gives the film a sleek, polished look. The set design is detailed and adds to the futuristic feel, making the environment visually interesting even when the story falters. The acting is decent, though the script doesn’t give much room for standout performances. The score has a few nice touches, especially when incorporating classical music, but it doesn't elevate the experience much. In the end, TAU had the ingredients for a solid sci-fi thriller but didn’t do enough with them, making it an easy watch but ultimately forgettable.
