---
title: "Ex Machina"
year: 2015
kind: "film"
canonical: "https://film.one/film/ex-machina"
fi1m_id: "ex-machina"
imdb_id: "tt0470752"
tmdb_id: 264660
wikidata_id: "Q16635326"
fi1m_score: 82
critics_score: 72
critics_reviews: 14
published: "2026-09-15"
updated: "2026-09-18T08:37:49.211122+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Ex Machina (2015)

Directed by Alex Garland · 1h 48m · MPA R · Drama, Science Fiction

## Identity

Ex Machina

- **Canonical:** https://film.one/film/ex-machina
- **Type:** Film
- **Fi1m ID:** ex-machina
- **IMDb ID:** tt0470752
- **TMDB ID:** 264660
- **Wikidata ID:** Q16635326
- **Same entity:** https://www.imdb.com/title/tt0470752/, https://www.themoviedb.org/movie/264660, https://www.wikidata.org/wiki/Q16635326

**Fi1m score: 82** · Critics 72 from 14 reviews

*In a sentence:* The robot has better manners than the men, which is a low bar but a worrying start

> Alex Garland’s science-fiction thriller is tense, drily funny and finely acted. Alicia Vikander makes Ava worth worrying about, even when the screenplay explains too much and the plotting becomes foreseeable.

## Synopsis

Caleb (Domhnall Gleeson) finds himself between Ava (Alicia Vikander), a humanoid artificial intelligence, and Nathan (Oscar Isaac), a technology entrepreneur. Conversations about whether a machine can think become a test of how well these three understand one another. Caleb’s growing interest in Ava brings desire into a discussion that is meant to be about consciousness. As he tries to judge her responses, he also has to question his own assumptions about her. Alex Garland writes and directs this science-fiction drama, with Sonoya Mizuno also appearing as Kyoko.

## Review

Alex Garland’s *Ex Machina* is a sharp, unsettling science-fiction thriller, held together by three performances that make a discussion feel dangerous. Its starting point is familiar: people try to decide whether an artificial being possesses a mind like their own. Garland is especially interested in the judgement of men who are attracted to the being they are supposed to assess. That gives the philosophical talk a useful embarrassment. The plotting sometimes becomes too easy to anticipate, but there is plenty here worth our attention.

Domhnall Gleeson’s Caleb provides a plausible way into this uncomfortable company, with enough uncertainty to make his interest in Ava persuasive. Oscar Isaac’s Nathan is harder to settle beside: his humour has the force of someone who expects others to join in. Isaac makes the technology entrepreneur funny without making his control over the conversation seem harmless. The exchanges work because Gleeson leaves room for hesitation while Isaac seems impatient with the idea that anybody else might need it.

Alicia Vikander is the reason the questions remain interesting. Her Ava seems to measure the effort required for each response, and the precision never settles into a simple imitation of a machine. We felt protective of her, and then uncomfortable about how quickly we had taken her side. Vikander’s careful attention during the conversations with Caleb makes it easy to mistake being listened to for being understood. Garland gives that mistake enough space to become our problem, without needing to interrupt the exchange and announce it.

Rob Hardy’s cinematography makes studying the characters feel like part of the test. We keep searching their faces for information the dialogue might conceal. Mark Digby’s production design gives the confined setting an oppressive tidiness, even when there is nothing obviously threatening in view. Ava’s humanoid appearance holds our attention within it, without resolving the question of how closely we should identify with her.

Editor Mark Day allows the conversations to develop a rhythm of question, pause and answer, so that hesitation begins to carry weight. His patience suits a film in which a response can alter our estimate of the person giving it. Geoff Barrow and Ben Salisbury’s music adds unease without insisting that every exchange should sound like a crisis. The restraint works: we have time to consider what has been said, and to notice when an apparently reasonable question begins to feel intrusive.

Garland’s screenplay occasionally over-explains the questions that his actors have already made clear. Once desire and authority have complicated these exchanges, another account of consciousness can feel like an interruption, and the plot is not always difficult to anticipate. These are related weaknesses: the film risks teaching us how to read it a little too thoroughly. The performances keep those passages watchable, particularly Isaac’s willingness to let a serious discussion become socially awkward.

As science fiction, *Ex Machina* gets considerable mileage from a familiar anxiety about artificial life. It is alert to the vanity of people who assume they would recognise intelligence, goodness or affection on sight, and its actors give that vanity recognisable human habits. At 108 minutes, the occasional repetition is noticeable without becoming exhausting. See it for Vikander, and be wary of anyone who comes away certain they have understood Ava.

*Fi1m score 82, published 15 September 2026.*

## What the critics say

Most critics welcome Ex Machina as an intelligent, unsettling science-fiction thriller, praising Garland’s controlled direction and the tension generated by a small cast in a confined setting. Praise centres on Alicia Vikander’s Ava: the reviews repeatedly single out her precision, ambiguity and ability to make the android more compelling than the humans. The visual design also earns strong notices, while many critics find that the dialogue and shifting power dynamics give the questions about intelligence and desire dramatic weight.

The disagreement concerns how much the story delivers beyond that setup. Enthusiastic reviews find it taut and philosophically rewarding; more reserved responses point to predictable plotting, thin emotional engagement and a loss of momentum. The Evening Standard offers a notably harsher assessment, seeing an overstretched short story dominated by male fantasy. Even among supporters, there is some doubt about whether the film’s ideas remain as persuasive as its performances.

## Straight answers

**How long is Ex Machina, and what is it rated?**

*Ex Machina* runs 1h 48m and is rated R by the MPA in the US. It is a drama and science fiction film.

**Where can I watch Ex Machina in the US?**

*Ex Machina* is streaming on Hulu, The Roku Channel and Disney+ in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $2.99. It leaves The Roku Channel on 1 October. Availability is checked daily; the links above go straight to each service.

**What should I watch after Ex Machina?**

After *Ex Machina*, try [*Moon*](https://film.one/film/moon) (2009, Fi1m 83): Another confined science-fiction drama where trust matters more than the technical explanation. Then [*Cure*](https://film.one/film/cure) (1997, Fi1m 85): Patient conversations become frightening when nobody can quite establish who holds control.

### Reviews we read (22)

- **Empire**, Dan Jolin (90/100, inferred): Garland's directorial debut is his most successful and satisfying creation yet, an old-fashioned grown-up sci-fi executed with Kubrickian scrutiny and a darkly satirical pulse. Vikander's poised, precise performance as Ava stands out as the star, crafting both a sci-fi and feminist icon. [Read](https://www.empireonline.com/movies/reviews/ex-machina-review/)
- **Film Comment**, Michael Sragow (90/100, inferred): Garland's high-IQ debut connects viscerally as both a taut thriller and a perceptive exploration of intelligence and desire. The critic singles out Vikander's witty, nuanced performance as Ava for particular praise. [Read](https://www.filmcomment.com/deep-focus-ex-machina/)
- **Radio Times**, Emma Simmonds (4/5): Garland's cerebral directorial debut questions what it means to be human through philosophical debate and tense interactions in a confined, beautifully rendered setting. It is seductively strange, consistently thought-provoking and admirably adult, even if somewhat predictable. [Read](https://www.radiotimes.com/movie-guide/b-omk5pu/ex-machina/)
- **The New Yorker**, Anthony Lane (75/100, inferred): The review sees the film as a patient, creepy directorial debut that slowly grips through its unsettling setup and suspenseful human-AI dynamics. It singles out Alicia Vikander’s Ava as the standout, making the humanoid more compelling than the humans and carrying the film. [Read](https://www.newyorker.com/magazine/2015/04/13/feelings-cinema-anthony-lane)
- **The Guardian**, Peter Bradshaw (70/100, inferred): Garland's AI thriller feels like an elegant short story bulked out to feature length but handled with confidence. Vikander steals the movie with a sly dreaminess in the central role. [Read](https://www.theguardian.com/film/2015/jan/22/ex-machina-review)
- **Little White Lies**, David Jenkins (4/3/3): The debut is more compelling as a study of millennial tech entrepreneurs than as pure AI speculation, with a classical setup that reveals its plotting too readily. It discusses the morality of AI in depth but ends up fudging its stance, though the ambiguous climax is satisfying. [Read](https://lwlies.com/reviews/ex-machina/)
- **Time Out**, Trevor Johnston (3/5): Garland's art-house debut takes viewers to the birth of convincing AI in a slinky, thoughtful setup with strong dialogue and Vikander's spellbinding presence. An obvious twist and clunky developments undermine the credibility of a story that promised more. [Read](https://www.timeout.com/movies/ex-machina)
- **Evening Standard**, David Sexton (40/100, inferred): An elegant variation on Frankenstein that turns Gothic and predictable, over-extending a short story into a chamber piece focused on male fantasy and a foxy female robot. It follows in the wake of stronger films like Her and Under the Skin without matching their challenge. [Read](https://www.standard.co.uk/culture/film/ex-machina-film-review-frankenstein-s-monster-is-no-longer-a-galumphing-male-she-s-female-now-and-foxy-9997434.html)
- **Los Angeles Times**, Kenneth Turan: The critic calls the film a shrewdly imagined, persuasively made, and quietly unnerving speculative chamber drama that balances big ideas with pulp thrills. It praises Garland’s assured debut direction and the remarkable design and performance of the robot Ava by Alicia Vikander. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-ex-machina-review-20150410-column.html)
- **Screen Daily**: Garland's stylish feature debut is an absorbing, thrilling and impressively performed psychological thriller that plays as both love triangle and battle of wills while balancing thoughtful AI ruminations with old-fashioned thrills. Vikander delivers the standout performance as the soulful, seductive android. [Read](https://www.screendaily.com/exmachina/5081700.article)
- **Sight and Sound**, Philip Kemp: Garland's directorial debut rejuvenates familiar AI themes by crossing them with Moreau-like exploitation of artificial beings, delivering a timely, sharply paced chamber piece whose sympathies ultimately lie with the android. Vikander's sensual performance as Ava stands out amid the tense power dynamics and uncertainty about consciousness. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/film-week-ex-machina)
- **The Hollywood Reporter**, Stephen Dalton: The critic praises the stylish directing debut, sleek production values and visual design centered on the android Ava but criticizes the third-act slump and lack of dramatic punch or fresh ideas. It is called a classy piece of cerebral sci-fi that functions as superior pulp for fans despite feeling flimsy. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/machina-film-review-764038/)
- **The New York Times**, Manohla Dargis (NYT Critic’s Pick): The critic finds the film a smart, sleek creation story about men and the machines and women they dream up. It singles out Alicia Vikander’s performance as the robot Ava for building a controlled, geometrically precise portrayal that enriches and ultimately engulfs the movie. [Read](https://www.nytimes.com/2015/04/10/movies/review-in-ex-machina-a-mogul-fashions-the-droid-of-his-dreams.html)
- **Variety**, Guy Lodge: The review describes the directorial debut as a brittle, beautiful, witty and sensual digital-age Frankenstein that slyly examines gender and humanity. It singles out Oscar Isaac’s nuanced, funny portrayal of the tech mogul Nathan as a highlight alongside the exquisite design and performances. [Read](https://variety.com/2015/film/global/film-review-ex-machina-1201405717/)
- **Vulture**: The critic notes the film starts with an original premise and marvelous design for Ava but quickly turns formulaic, shifting to a noir-ish plot about abusive masters and wily slaves rather than exploring unique singularity ideas. Ava remains a creepily alluring highlight thanks to Vikander's performance. [Read](https://www.vulture.com/2015/04/ex-machina-review.html)
- **Digital Spy**, Emma Dibdin (85/100, inferred): Garland's taut, intimate directorial debut blends character drama with sci-fi horror in a razor-sharp chamber piece. The critic highlights the powerhouse cast and the way shifting power dynamics build mesmerising tension and philosophical depth. [Read](https://www.digitalspy.com/movies/a623085/ex-machina-review-a-sharp-and-exhilarating-sci-fi-horror/)
- **Den of Geek**, Ryan Lambie (4/5): Garland's assured directorial debut is an intelligent, disquieting sci-fi thriller built around a minimal psychological setup. The critic singles out the superb trio of lead performances for praise. [Read](https://www.denofgeek.com/movies/ex-machina-review-2/)
- **Polygon**, Brian VanHooker (80/100, inferred): The critic calls the film smart, gripping, and well-acted with a thoughtful slow-burn arc between Caleb and Ava; singles out Vikander's performance and the seamless visual effects for making the robot character believable and overlooked. [Read](https://www.polygon.com/ex-machina-review-now-on-netflix/)
- **Collider**, Perri Nemiroff (B): The critic finds it a strong feature with effective humor from Isaac, a riveting core scenario, and stunning visuals, but notes a minimal amount of humanity that keeps it from striking a deeper emotional chord. [Read](https://collider.com/ex-machina-review/)
- **Eye for Film**, Amber Wilkinson (70/100, inferred): The pleasure lies in deeper questions of what makes us human and tensions between characters, with strong performances; plot suffers from predictability, but a welcome addition to the genre. [Read](https://www.eyeforfilm.co.uk/review/ex-machina-2015-film-review-by-amber-wilkinson)
- **The Wrap** (60/100, inferred): The critic describes the film as a chilly yet engrossing drama elevated by its production design and Garland's screenplay, though hampered by lethargic pacing. It singles out the lack of emotional engagement with the robotic characters as a notable flaw. [Read](https://www.thewrap.com/ex-machina-review-alicia-vikander-domhnall-gleeson-oscar-isaac/)
- **The Playlist**, The Playlist Staff ([A]): The critic calls it a triumph and the first great film of 2015, praising the tight screenplay, meticulous filmmaking, sensational performances, and big ideas about AI. [Read](https://theplaylist.net/review-alex-garlands-gripping-brilliant-and-sensational-ex-machina-20150408/)

## Details

- **Director:** Alex Garland
- **Director:** Alex Garland
- **Writer:** Alex Garland
- **Cinematography:** Rob Hardy
- **Editor:** Mark Day
- **Music:** Geoff Barrow, Ben Salisbury
- **Production design:** Mark Digby
- **Costume design:** Sammy Sheldon
- **Producer:** Allon Reich, Andrew Macdonald
- **Cast:** Domhnall Gleeson as Caleb; Alicia Vikander as Ava; Oscar Isaac as Nathan; Sonoya Mizuno as Kyoko; Corey Johnson as Jay; Claire Selby as Lily; Symara A. Templeman as Jasmine; Gana Bayarsaikhan as Jade
- **Runtime:** 1h 48m
- **Certificate (MPA):** R
- **Release (the US):** 24 April 2015
- **Genres:** Drama, Science Fiction
- **Budget:** $15 million
- **Box office:** $37 million
- **Trailer:** https://www.youtube.com/watch?v=sDkEF7Db7Gw

## Where to watch in the US

- Hulu: streaming, uhd
- The Roku Channel: free, hd, leaving 2026-10-01
- Disney+: add-on, uhd
- Amazon Prime Video: rent $2.99, sd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: buy $9.99, sd
- Apple TV: buy $12.99, sd

*Checked 2026-09-15.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2016: Best Writing, Original Screenplay (nominated); Best Visual Effects (won)
- Critics' Choice Awards 2015: Best Original and Adapted Screenplay (nominated)
- European Film Award for Best Actress 2015: European Film Award for Best Actress (nominated)
- European Film Award for Best Screenwriter 2015: European Film Award for Best Screenwriter (nominated)

## If you liked this

- *Moon* (2009), Fi1m 83: Another confined science-fiction drama where trust matters more than the technical explanation — [Fi1m page](https://film.one/film/moon.md)
- *The Stepford Wives* (1975): Domestic politeness grows sinister in another sharp examination of male entitlement
- *After Yang* (2021): A gentler science-fiction drama about the place artificial beings occupy in families
- *I'm Your Man* (2021): A drier, funnier examination of desire when the ideal partner is manufactured
- *Cure* (1997), Fi1m 85: Patient conversations become frightening when nobody can quite establish who holds control — [Fi1m page](https://film.one/film/cure.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/ex-machina