‘Klara and the Sun’ Review: There’s No Life — Intelligent, Artificial or Otherwise — in Taika Waititi’s Calamitous Android Fantasy

‘Klara and the Sun’ Review: There’s No Life — Intelligent, Artificial or Otherwise — in Taika Waititi’s Calamitous Android Fantasy hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 17, 2026 1:45pm PT ‘Klara and the Sun’ Review: There’s No Life — Intelligent, Artificial or Otherwise — in Taika Waititi’s Calamitous Android Fantasy As an ‘artificial friend’ purchased for an ailing teen, Jenna Ortega tries hard to illuminate this misbegotten Kazuo Ishiguro adaptation, but Waititi’s decision to play it for strained, whimsical comedy is ruinous. By Guy Lodge Plus Icon Guy Lodge Film Critic @guylodge Latest ‘Klara and the Sun’ Review: There’s No Life — Intelligent, Artificial or Otherwise — in Taika Waititi’s Calamitous Android Fantasy 2 minutes ago Iranian Auteur Majid Majidi Wins Top Prize at Busan Film Festival With ‘Midday Meal’ 2 days ago ‘To Be Ordinary’ Review: A Compassionate, Even-Handed Taiwanese Family Melodrama 3 days ago See All Add us as a Google Preferred Source Comments Adapting a solemnly complex, questioning novel as a cockeyed child’s-eye comedy worked once before for Taika Waititi — which is to say that “Jojo Rabbit,” his crass, mawkish “anti-hate satire” about a Hitler Youth member’s personal and political awakening, won him an Oscar and grossed nearly $100 million, in spite of its manifold artistic and ethical shortcomings.

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But even that film’s many defenders are unlikely to be moved in sizable numbers by his twee, pulseless fantasy “ Klara and the Sun ” — such a hopeless mismatch of filmmaker and source material, it appears to be have been assembled as a kind of perverse defy-the-odds challenge. Whether there was ever a successful movie to be made of Kazuo Ishiguro’s finespun, melancholic, almost brittly interior study of android consciousness is open to question, but Waititi should reasonably be in the bottom tier of auteurs you’d enlist to try, maybe just ahead of Baz Luhrmann, but a notch below Quentin Tarantino.

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Related Stories Grammy Asian Pop Category Will Go Forward, CEO Says: ‘We Understand This Conclusion Will Not Satisfy Everyone’ Stray Kids Join BTS in Sitting Out Grammy Awards Published in 2021, “Klara and the Sun” is a confidently delicate novel, skirting slightness — as well as a bit of thematic recycling — in the way that a recent Nobel laureate can afford to do. It reads as something of a companion piece to “Never Let Me Go,” Ishiguro’s sober, mournful study of a human clone reflecting on her place in a hostile universe; swap in AI robots for clones, and “Klara” plows much the same field.

“Never Let Me Go” got a fitting adaptation in Mark Romanek’s chilly, elegant 2010 drama of the same title; that film couldn’t have been more stylistically coordinated to the author’s voice, and you’d hardly expect the director of “What We Do in the Shadows” and two “Thor” movies to take the same approach. Popular on Variety But from the very first tinkly strains of Michael Giacchino’s overbearingly precious score, it’s obvious that moist-eyed whimsy is an ill-chosen path; the filmmaker’s variously cutesy, kooky affectations fight the stoic sadness of Ishiguro’s storytelling at every turn.

(The author takes an executive producer credit, and one would give several pennies for his thoughts.) Having premiered at London after being conspicuously absent from September’s season-launching festivals, “Klara and the Sun” will open in theaters on October 23, and looks to have all the cultural staying power of a standard ChatGPT conversation — with any audiences that do turn up likely to be nonplussed by a fable that’s pitched too juvenile for adults, and way too dull for children. The comedy is broadest,

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