A couple move into a high-tech home with a machine manservant, and you don’t need AI to tell you how that all works out
Paul, meanwhile, becomes increasingly resentful of the interfering android. Add an attractive neighbour, paranoia and technological advances that prioritise “beating the Chinese” over safety protocols and we’re quickly hurtling towards HAL-level threat.
Working from a script co-written by the novelist Sarah Govett, the comedian turned film-maker Spencer Brown is a little more judicious in his use of the robot-amok terror than Blumhouse’s, preferring Luddite-themed jolts. This is a canny film about the uncanny valley, punctuated by fears that don’t yet have specific names and phobias, including deep-fake horror scenarios and “that feeling when one’s phone shills for something you just thought about”.
We’re unsure what malfunction causes the tin man to fall in love and turn Single White Female. The narrative shape will feel familiar to anyone who has watched Yul Brynner overtake his programming in Westworld or Farrah Fawcett fend off a rapey robot in Saturn 3. Against the familiar pattern, TIM is a well-crafted, entertaining and cautionary tale.
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