Tag: Academy Awards

Watching Watson emote with redundant robots

Saturday, 27 February, 2016 0 Comments

Hollywood has become rather fond of depicting robots and artificial intelligence as threats to humanity and that’s not good for the image of the computing industry. Too much dystopia and people might begin to fear the machines. Time, then, for a spot of conviviality where people interact with the technology that will soon be bossing business, and that’s why IBM will present two ads starring its Watson cognitive computing system during the Academy Awards show.

In this clip we see Star Wars actress Carrie Fisher leading a support group for outmoded robots upset at being replaced by newer technology. She invites Watson to help them confront their anxieties and he tells them he’s a computing system that works with humans. But the “traditional” robots say they’re not interested in working with people and opt for a coffee break instead. Humour is not an easy thing to do at the best of times and it’s especially difficult for humans to make robots funny.

#OscarsSoRobotic: The bots in the Watson clip will be live-tweeting during the Oscars.


And the Oscar goes to…

Thursday, 7 January, 2016 0 Comments

… the landscape. Sorry, Leonardo DiCaprio, your performance is compelling, but there’s more to acting than being attacked by a bear. The Revenant is a feast for the eyes, but not so much for the ears. The score by Ryuichi Sakamoto, in collaboration with Bryce Dessner and Alva Noto, is appropriately chilling but it lacks all traces of humanity. The other pain-in-the-ear is the accent of the dastard John Fitzgerald (Tom Hardy). “I’m talkin’ to you,” he says in one scene, and it’s about the only understandable thing he utters and mutters throughout. Dave Schilling in the Guardian nails it:

“Fitzgerald is supposed to be from the south or some other rural area and has plans to go back to Texas to re-enlist in the army once he receives a fat payday. This affords Hardy the chance to sink his teeth into yet another dialect and boy, does he chew away at that thing. Again, Hardy’s accent seems to ride in and out on the wind, appearing when necessary and getting usurped by a generic, Star Trek: Nemesis-esque growl when he can get away with it.”

With The Revenant, director Alejandro G. Iñárritu has made a unique visual statement about survival in the face of almost impossible odds and viewers are treated to some memorable graphic moments, but the film has no soul. Worse, it is littered with the inevitable PC sops that must be offered these days to the “victims” of history, but they are too clumsy and transparent to be anything but cliché. When the dust settles after the 88th Academy Awards ceremony on 28 February at the Dolby Theatre in Hollywood, The Revenant will be remembered mostly for reviving a 19th century word for someone who returns from a long absence. The noun comes from the French revenant, the present participle of the verb revenir (“to return”).

Prediction: The Revenant will win an Oscar: Best Cinematography for the magnificent camerawork of Emmanuel Lubezki. He creates a truly imposing wild West from a variety of scenes shot in Canada, Argentina and the United States.