Perhaps some will remember the time when Marc Webb’s romantic drama (500) Days with Her (2009) came out, where a pre-teen girl unexpectedly stole the show every time (!) she appeared alongside her Joseph Gordon-Levitt older brother in the plot.
The precocious talent had a composite name and surname: Chloe Grace Moretz.
The 24-year-old American actress was just 11 years old when she recorded the aforementioned production, which served as a red carpet for other high-profile work for years to come.
She starred, opposite Aaron Taylor-Johnson, in the hilarious Kick-Ass: Breaking It All (2010), and later that year was part of Matt Reeves’ great horror Let Me In. The good work was recognized, so much so that the titans Martin Scorsese and Tim Burton, cast Moretz in the works A Invenção de Hugo Cabret (2011) and Sombras da Noite (2012), respectively.
But at the turn of 2013 we saw the young actress having her compound name associated with some cinematic bombs from the level of Carrie (2013), The 5th Wave (2016), Obsession (2018), and more recently, Tom & Jerry: The Film (2021). Even when he worked alongside a renowned filmmaker like Luca Guadagnino on the new version of Suspiria: A Dança do Fedo (2018), he managed to deliver a poor performance.
Yes, we had some (a little) interesting work in this most recent phase, however, it stood out more for the projects that failed in recent times, something that will probably be repeated in the science fiction Mother x Androids, which has just arrived in the Netflix catalogue.
Set in the near future, Mother vs. Androids follows Georgia (Chloe Grace Moretz) and her boyfriend Sam (Algee Smith) on their journey of escape as the country finds itself in an unexpected war against the androids. Days before their first child arrives, they must face risky challenges as they try to make their way through an area taken by the android uprising, hoping to reach safety before the baby arrives.
You can believe that there are some points that would deserve to be highlighted in this Netflix production, if they had been properly explored, and not just in the superficial way as it was observed.
Right at the beginning of Mãe x Androides, when we follow the exact moment that everything started to go wrong for humans, we can see two proposals that are at least pertinent: one talks about human dependence on technology; while the second (more audacious), associates the revolt of machines that exclusively perform a type of outsourced service with the working classes, exploited by the more affluent portion of the population.[display-posts orderby="rand"]
Promising, isn’t it?! But both themes represented only one (single) brushstroke on the white canvas!
Now, there is the issue of motherhood too. This proposal has already gone practically from beginning to end in Mãe x Androides, however, it lacked emotional substance when addressing the difficulties, fears and sensations of a woman in the pregnancy phase, even more so, in a more advanced stage, like about to give birth.
At the most, we understand that pregnant women feel a lot of pain in their feet and back, something that we men oblige to seek knowledge in order not to let them feel helpless in this moment of extreme sensitivity. But, remembering that for this there are high quality textbooks, different from this shallow sci-fi production, which doesn’t seem to care about robots or mothers.
In short: just another survival movie.
However, it is important to say that in the last moments we can witness Chloe Grace Moretz giving herself body, heart and soul when she deeply perceives and feels the weight of the choice before her eyes. Just for that it deserves to be praised, yes!
A pity that all the way up to that point, we had absolutely nothing to connect with in this story, which turned out to be something without flavor or pulse.
Maybe it’s time for Chloe Grace Moretz to try to tease in the American talk-show interviews, a possibility that we have a new entry in the Kick-Ass franchise. Apparently, that’s the only way for her to return to being a positive highlight on the rising curve.