Robots: Clever gags can’t save its messy premise

The opening scene of “Robots” sets a provocative tone: Jack Whitehall’s Charles, a serial womanizer, watches from the shadows as his robotic double seduces yet another unsuspecting woman. The premise is ripe with potential—a satirical romp through the ethics of artificial intelligence and the absurdities of human relationships—but the film struggles to maintain this early promise.

Directed by Casper Christensen and Anthony Hines, “Robots” (2023) is a science fiction romantic comedy that follows Charles (Whitehall) and Elaine (Shailene Woodley), two wealthy suburbanites who use illegal android doubles to manage their chaotic love lives. When their robotic counterparts fall in love and go rogue, the humans must team up to track them down before authorities discover their secret. Based on Robert Sheckley’s 1963 short story “The Robot Who Looked Like Me,” the film aims to blend humor, romance, and sci-fi, but it often stumbles under the weight of its own ambitions.

What works in “Robots” are the moments that lean into its absurdity. The running gag about the robots’ glass eyes is one of the film’s strongest comedic elements. This simple visual joke leads to some genuinely funny scenes, particularly when characters repeatedly poke the robots’ eyes, a sight gag that recalls the slapstick humor of classic comedies like “The Three Stooges.” Whitehall’s delivery of his lines is another highlight. His signature wit and timing shine through even in the film’s weaker moments, making Charles a surprisingly engaging protagonist despite his morally dubious actions.

Woodley, meanwhile, holds her own as Elaine, though her character feels underdeveloped compared to Charles. Elaine is introduced as a gold digger who uses her robotic double to scam men out of money and gifts, but her motivations and backstory are never fully explored. This lack of depth makes her arc feel somewhat hollow, particularly in the film’s later acts when she is supposed to undergo a significant emotional transformation.

Unfortunately, the film’s humor often falls flat. The dialogue, while occasionally sharp, relies too heavily on crass jokes and predictable punchlines. The pacing is also an issue, with the plot stalling in the second act as Charles and Elaine bumble their way through a series of inept attempts to recapture their robotic doubles. The film’s attempt to balance romance, comedy, and science fiction results in a tonal whiplash that never quite resolves.

The supporting cast is a mixed bag. Paul Rust as Zach, the engineer who created the androids, provides some much-needed comedic relief, but his character is underutilized. Nick Rutherford as Ted Jr. and Paul Jurewicz as Ashley have even less screen time, making their contributions feel somewhat superficial.

The film’s direction is another area of concern. Christensen and Hines struggle to find a consistent visual style, with the cinematography often feeling generic and uninspired. The film’s production design, while impressive in some respects—particularly the futuristic androids themselves—lacks the coherence and detail that would elevate it from merely functional to truly memorable.

Thematically, “Robots” grapples with ideas of identity, self-awareness, and empathy, but these themes are often overshadowed by the film’s comedic elements. The robots’ journey towards self-awareness is a compelling narrative device, but the film never fully explores the ethical implications of their existence or the moral dilemmas faced by their human counterparts.

The ending, however, is a surprising standout. In a moment of redemption, Charles allows the androids to escape to Mexico, where they can live freely. It’s a rare instance where the film’s themes about empathy and self-awareness come through clearly. The final scene, in which Charles and Elaine symbolically take their robotic doubles’ place in a wedding ceremony, feels earned and heartfelt.

“Robots” is far from a disaster, but it’s also not the clever, subversive comedy it aspires to be. It’s a film that will likely appeal to fans of lighthearted sci-fi comedies, particularly those who enjoy the work of directors like Woody Allen or Michel Gondry. However, viewers looking for a more substantive exploration of AI ethics or a tightly crafted romantic comedy may find themselves disappointed.

Ultimately, “Robots” is a film that straddles the line between mediocrity and something more memorable. It has its moments—particularly in its humor and Whitehall’s performance—but it never quite coheres into a satisfying whole.