It’s a beautiful thing when a filmmaker gets the funds and creative freedom to make the films they want to make. Director Neill Blomkamp (District 9) continues to be given liberties to explore the topics and films he wants, while never forgetting his style or eye for action. Sometimes, though, this independence gets the better of some people, and you make a movie as tone-deaf and confused as Chappie.
The kind of product which feels like an executive shoving Short Circuit, Robocop (1987), A.I. Artificial Intelligence and District 9 harshly into a worn-out blender, Blomkamp’s third film attempts to tell the tale of mechanic engineer Deon Wilson (Dev Patel) who creates artificial life in the form of the titular Chappie, only to have that product learn harsh realities when stolen and raised by street thugs Yolandi and Ninja (Die Antwoord’s similarly named band members) and their friend Amerika (Jose Pablo Cantillo). What results, however, is a hodgepodge of themes, tones and supporting characters with unbalanced morals blanketing the potentially good intentions of the filmmakers.
Blomkamp, one would have to assume, likely envisioned Chappie initially as a tongue-in-cheek parody of ‘80s robot movies, explaining why so-clear takeaways from the RoboCop and Short Circuit movies are evident throughout. But as he and his wife/co-writer Terri Tatchell reworked their screenplay, and Blomkamp’s very-dour filmmaking method fogged up the comedy, their cheek little play-on mechanics became more a commentary of humanity and what defines the life we leave. These two types of films, when done separately, can produce some great cinema. Together, though, they come across as disserting and uncomfortable, like a wool sweater knit from two separate fabrics, or even a wool sweater in general.
All that said, Chappie, the character, is easily the most sympathetic Blomkamp has brought to the screen thus far. So when the film sees him grow up and adapt to the world around him like a child, it’s hard not to get arrested in his cute antics and his wide-eyed enthusiasm. And scenes like these are ultimately where Chappie succeeds. When the movie steps away from harsh violence, half thought-out ideology and bad haircuts, it actually becomes sweet and winning. Blomkamp and Tatchell obviously care deeply about this character, and like to see him grow beyond his vulnerable, child-like tendencies. They oddly, though, rush through his arc in favor of their multitudes of supporting characters and subplots and fail to make full use of their charming potential.
Sharlto Copley, who provides the motion capture and voice for Chappie, gives a sincere and highly enjoyable performance at the center here. His enjoyment in the part can be infectious enough at times to forget the many plot holes and inconsistencies of the story, if just for fleeting moments. Patel also does a great job at giving humanity and weight to his flat character, letting you sympathize with his plight and appreciate his love for his creation. Had Chappie focused more on this instead of becoming a rip-off of RoboCop, it may not have been original but it’s hard to imagine it without emotional resonance.
Even Cantillo and musician Yolandi give decent-enough performances in their own rights, especially considering the latter’s horrendous dialogue. Unfortunately this is where the acting compliments end. Hugh Jackman, as the mullet-spotting antagonist Vincent Moore, gives it his all and seems more aware than his peers of what kind of film he’s in. Unfortunately, Blomkamp makes him little more than a peering, teeth grinding fist-shaker who spends half the movie hiding behind walls, cubicles and desks stalking other people or threatening their lives.
Ninja, meanwhile, is just not cut to be an actor. The more he’s on screen, the angrier he looks at his agent and gives little effort to make his character as likable as the director and his wife want him to be. And Sigourney Weaver, largely miscast as probably the dumbest CEO in history, sounds confused about every line of dialogue she says. She appears in the movie for less than seven minutes to deliver exposition and play a character that makes stupid decisions. Maybe Blomkamp will make better use of her in his upcoming Alien movie.
Chappie moves at a great clip, with solid action when it comes and wonderfully fluid special effects which seamlessly mix CGI and practical effects. Blomkamp appears eager to become more accomplished as a filmmaker, but his good-hearted attempts at pathos in conjunction with violent murders and muddled or cliché messages make for a baffling and disappointing misfire. It’s a passionate, fire-breathing creation of love, but this robot film never finds the right gears to piece itself together.