Maika Monroe

Ed Skrein

Gary Oldman

Fiston Barek

Ivana Živković

Paul Leonard Murray

Dragoljub Ljubicic

Sharon D. Clarke

Greg De Cuir

Danijel Korsa

Ian Virgo

Irene Chiengue Chiendjo

Christopher Minos

Noga Landau

Federico D'Alessandro

Craig Kuehne

Bear McCreary

Scott Chestnut

Miljen 'Kreka' Kljaković

Momirka Bailović

Terry Dougas

Kostas Tsoukalas

Josh Rosenbaum

Kevin Turen

David S. Goyer

Paris Kassidokostas-Latsis

Kevin Blank

Russell Ackerman

Dan Kao

Larry Smith

John Schoenfelder

Ken Kao

Harrison Kreiss

Jean-Luc De Fanti

Jeff Betancourt

Luc Etienne

George Zakk

Alex Walton

Mattias Eklund

Raymond Gieringer

Science Fiction

Thriller

Horror

Phantom Four

Addictive Pictures

Kaos Theory Entertainment

Rhea Films

Waypoint Entertainment

Hercules Film Fund

United States of America

English

The Movie Diorama

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 | Official Trailer [HD] | Netflix

Tau

производственные компании

Актёрский состав 12:

Съёмочный состав 29:

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