Much of the emotional heavy lifting goes to Moretz, though, whose Georgia leads with her heart over her head, for better and worse. Sam is the brasher of the two, often leading them straight into trouble, but Smith imbues him with a caring charisma that’s winsome nonetheless. As partners forged by the collapse of society, desperate to see their baby born healthy and safe, however, they’re plausible enough. Even the scant glimpse of them pre-apocalypse makes it hard to buy into their love for each other. The cautious search for shelter, an intense chase through the woods when loud sounds alert the androids to the couple’s presence, late-term pregnancy symptoms, and even a high-alert outpost nestled near No Man’s Land, filled with familiar archetypes, hinder or help the voyage.Īs a romantic couple, Moretz and Smith lack chemistry. The tumultuous and constantly moving journey for the leads helps maintain interest even as they encounter the typical plot beats. Nine months later, a profoundly pregnant Georgia and Sam must trek across dangerous terrain to find safety for their unborn baby. The bizarre signal flips the switch on the domestic androids, turning them from holiday eggnog serving butlers to instant killing machines with a single mission eradicate humanity. They don’t have time to discuss it properly, though, as a loud, piercing sound erupts from their phones. It’s Christmas, and Georgia (Moretz) struggles with boyfriend Sam ( Algee Smith ) about dealing with the recent discovery that she’s pregnant. Despite its familiarity, writer/director Mattson Tomlin and lead Chloë Grace Moretz inject enough emotional stakes to keep you invested. That basic premise applies to numerous dystopian sci-fi movies over the decades, and Mother/Android emerges as the latest. An apocalyptic war between humans and machines ensues. in every aspect of daily living, and becomes horrified when a triggering event causes A.I. Humanity creates A.I., relies heavily on A.I.