Science Fiction

Thriller

Horror

Phantom Four

Addictive Pictures

Kaos Theory Entertainment

Rhea Films

Waypoint Entertainment

Hercules Film Fund

United States of America

Luxembourg

English

Maika Monroe

Ed Skrein

Gary Oldman

Fiston Barek

Ivana Živković

Paul Leonard Murray

Dragoljub Ljubičić

Sharon D. Clarke

Greg De Cuir

Danijel Korsa

Ian Virgo

Irene Chiengue Chiendjo

Christopher Minos

Federico D'Alessandro

Noga Landau

Craig Kuehne

Bear McCreary

Scott Chestnut

Miljen 'Kreka' Kljaković

Momirka Bailović

David S. Goyer

Kevin Turen

Russell Ackerman

John Schoenfelder

Ken Kao

Dan Kao

Paris Kassidokostas-Latsis

Jean-Luc De Fanti

Terry Dougas

Luc Etienne

Larry Smith

Jeff Betancourt

Kostas Tsoukalas

Kevin Blank

George Zakk

Harrison Kreiss

Josh Rosenbaum

Alex Walton

Mattias Eklund

Raymond Gieringer

The Movie Diorama

Tau artificially misuses its intelligence through undeveloped triangular concepts. Remember ‘Ex Machina’? The simple concept of questioning the state of existence between humanity and artificial intelligence. Whether a sentient entity can reach transcendence or remain restrained within the limitations of their code. How about ‘Her’? Injecting emotional resonance to the artificial intelligence by making them sound and feel almost human. Two stellar features that illustrate the experimentation of AI capabilities. Then comes Netflix’ exclusive Tau. A streetwise woman kidnapped and secluded as a test subject for a scientist who is researching the human mind in order to produce AI.

A cross between an Escape Room game, any kidnapping crime thriller and conscientious existentialism. The problem with this interpretation of said intellectual code, is it’s boring. Vehemently dull to the point where you are wanting something to take you by surprise. Wishing for some sort of twist to smack you across the face with robotic hands. It’s by-the-number narratively speaking. Woman is kidnapped, woman must try to escape the clutches of Skrein’s mundanely miscasted scientist, where woman then befriends a wall by reading poetry and listening to classical music. What’s on this wall you may ask? A triangle.

Much like ‘Oblivion’, this three-sided geometric shape is now associated with sentience. Relating to the Illuminati perhaps? Regardless, does not matter. For the vast majority of the second and third act, Monroe’s gloriously wasted talents were used to humanise this floating triangle, which for all intents and purposes, actually works in conjuring an emotional connection. Then, before the shoddily explosive conclusion that diminished the semi-intellectual approach beforehand, Pyramid Head has code randomly removed (because that’s how computing works...) and so all characterisation that was meticulously built up for the past forty minutes, dissolved into nothingness. Poof! Gone!

Tau, the actual name of the musically-inclined triangle, was the only “character” to have significant development. Even when it attempts to question humanity and what it means to be a “person” in the most basic form available. Monroe’s expositional memory flashbacks? Nope. Skrein’s constant moping around? Nah. So to essentially erase Tau’s character was frustrating more than anything. It made the entire conclusion worthless and one-dimensional. The visual effects and overall production were decent considering the small budget, replicating modernised architecture exquisitely. Which further infuriates me due to the lack of care that went into the plot, characters and inconsiderate pacing. Cold as code!

Admittedly I did nearly fall asleep due to the repetitious nature of the narrative, mostly consisting of Skrein failing to meet a deadline whilst Monroe begs Mr. Triangle to let her escape willingly. So I guess if you’re having trouble sleeping, and you desire a quick remedy, stick on Tau.

TAU starts off with an interesting premise but quickly falls into predictable territory. The plot feels like a blend of familiar sci-fi tropes without much depth to set it apart. The directing is competent, keeping the pacing steady, but the script drags it down with forced dialogue and questionable logic. The AI concept could have been compelling, but the way it's handled makes it hard to take seriously, especially with how inconsistent its intelligence is. The interactions between the AI and protagonist feel more like a necessity to stretch the runtime rather than something truly engaging.

That said, the cinematography is a standout, with well-crafted lighting and a stylish color palette that gives the film a sleek, polished look. The set design is detailed and adds to the futuristic feel, making the environment visually interesting even when the story falters. The acting is decent, though the script doesn’t give much room for standout performances. The score has a few nice touches, especially when incorporating classical music, but it doesn't elevate the experience much. In the end, TAU had the ingredients for a solid sci-fi thriller but didn’t do enough with them, making it an easy watch but ultimately forgettable.

TAU | Official Trailer [HD] | Netflix

Best Movies

Tau

Cast & Crew

Videos

Cast

Maika Monroe

Ed Skrein

Gary Oldman

Fiston Barek

Ivana Živković

Paul Leonard Murray

Dragoljub Ljubičić

Sharon D. Clarke

Greg De Cuir

Danijel Korsa

Box office

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