Author Archives: Devindra Hardawar

The Super Mario Galaxy Movie is a black hole of entertainment

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I realized something was genuinely wrong with The Super Mario Galaxy Movie about 30 minutes in: I hadn't laughed even once. My audience of around 15 people, including a few families, was dead silent as well. The guy sitting behind me, a Nintendo fan decked out in Mario gear, was so bored he fell asleep. Sure, this is made for kids, but as a Nintendo devotee myself, and someone who has to watch a ton of children's films on repeat, even the Despicable Me films are more entertaining. 

To be fair, there's the pretense of a plot: Koopa Jr. and Peach are on parallel tracks to reconnect with a sense of family, in their own ways. But the movie leaps from scene to scene joylessly, with no sense of storytelling or characterization, glued together by the "oh I remember that guy"-ness of empty corporate nostalgia. It's even less of a movie than the previous Pratt-led popcorn flick. 

The Super Mario Galaxy Movie
Luigi, Yoshi, Mario and Toad in The Super Mario Galaxy Movie
Nintendo and Illumination

Take the discovery of Yoshi, which takes place early in the film. Mario and Luigi just find him in a cave and he immediately becomes part of the crew, no questions asked. There's a brief creative sequence where Yoshi wreaks havoc in the real world, but it's far too short. Yoshi's got plot duties to fulfill, after all! He’s the perfect sidekick, with no desires of his own and the bare minimum of characterization (thanks to Donald Glover’s voice, oddly enough. Dude's got range!)

I argued that the first Mario film felt a bit too safe, but at least it had a few moments to shine: Like an early side-scrolling sequence, and Jack Black's endearingly musical take on Koopa. The only truly inventive sequence in this movie involves Star Fox's Fox McCloud, voiced with just the right dose of attitude by current Hollywood "it guy" Glen Powell. He briefly recounts his story in anime form, and yes, he does a barrel roll or two. 

The Super Mario Galaxy Movie
Bowser Jr. and Bowser in The Super Mario Galaxy Movie.
Nintendo and Illumination

Now it doesn't make much sense why Fox is actually in the film, but a few half-hearted fight sequences throughout makes it seem like Nintendo is setting up an eventual Avengers-style Smash Bros. movie. What better way to cram in even more characters and references! Isn't that what franchise filmmaking is all about? 

I'd like to think Nintendo and its collaborators can do better. This is a company known for the thoughtfulness of its game designs, for delivering quirky and inventive player experiences and for not always following the competition. None of that applies to The Super Mario Galaxy Movie. There’s little in the way of creativity. It barely respects the audience’s time. And it is, in every sense, just following the More, Louder, Busier playbook for unfocused franchise sequels. 

The Super Mario Galaxy Movie is so soulless, it makes me worried about the upcoming Legend of Zelda film (which at least has a far more respectable creative team). Sure, it’s  hard to expect genuine cinema from a Mario film. But we live in an era of great kids movies – Pixar’s Hoppers was an absolute hoot wrapped in an environmentalist message; The Lego Movie (and its sequel and side stories) manage to deliver both laughs and heart. Kids deserve better than an empty sequel moneygrab.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/the-super-mario-galaxy-movie-is-a-black-hole-of-entertainment-154406362.html?src=rss

Engadget Podcast: How Apple keeps redefining personal computing at 50

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For a 50-year-old company, Apple remains pretty hip and nimble. This week, Devindra and Senior Reporter Igor Bonifacic dive into Apple's big birthday, the state of the company today and what the next 50 years could bring. It remains one of the few PC companies that’s still firmly committed to the idea of personal computing. Also, we celebrate the successful launch of NASA's Artemis II mission, which will bring us back to the Moon (but just for a close look).

  • Apple at 50: Why it’s still all about personal computing – 1:16

  • Artemis II is safely on its way to the moon, but they’re having problems with Outlook – 37:48

  • SpaceX files for the largest IPO ever, what’s driving their hopes for a 1.75 Trillion valuation? – 40:52

  • Another Starlink satellite broke up in orbit, the second in 6 months – 47:21

  • Anthropic accidentally leaked source code for Claude Code – 52:17

  • FCC issues ban on all foreign-made WiFi routers – 57:18

  • Around Engadget – 1:02:09

  • Working On – 1:07:18

  • Pop culture picks – 1:08:20 

Hosts : Devindra Hardawar and Igor Bonifacic
Producer: Ben Ellman
Music: Dale North and Terrence O’Brien

This article originally appeared on Engadget at https://www.engadget.com/computing/engadget-podcast-how-apple-keeps-redefining-personal-computing-at-50-122121591.html?src=rss

The AI Doc’s director was “scared shitless” by AI, so he made a movie about it

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If you're feeling anxious about AI and what it means for the future of humanity, you should watch The AI Doc: Or, How I Became an Apocaloptimist. As I noted in my review, the film aims to deliver some clarity amid all the hype. Now that it's in theaters, we sat down with director Daniel Roher, who won an Oscar for his film Navalny, to dive deeper into his complicated feelings around AI.

The entire topic made him nervous, Roher said, so he decided to team up with similarly anxious colleagues to demystify AI using film. He describes the goal of the project to be a sort of "first date" with AI, a way to hear about its potential benefits from AI boosters, while also taking in the many negatives brought up by critics. It’s probably too late to stop AI entirely, but he thinks we can at least try to find ways to limit the worst impulses of the tech industry. 

"I wanted to make this movie because I was scared shitless, that's the crux of it," he said in an interview on the Engadget Podcast. "I didn't understand what AI was. I didn't understand why everyone was talking about it and why it seemed to be this thing that came outta the woodwork and all of a sudden, people were talking about it like it was the apocalypse or like it was gonna be the most optimistic, greatest thing ever."

Ultimately, Roher arrived at the term “apocaloptimist,” which balances the contradictory ideas that AI can both seriously harm society, and that we can still shape the future by criticizing or outright rejecting it. "It's a worldview. It's choosing not to buy into a binary that's asking us to see this as either apocalypse and the end of the world, or through the rose-colored glasses of unvarnished optimism, which is also sort of a fallacy," he said.

On the one hand, he's well aware the major players pushing AI are, at best, flawed. When I mentioned Marc Andreessen’s recent comments about proudly having no inner thoughts, Roher added,” They're just fucking weird. They're just nerds who became billionaires because they were born at the right time and they had the right interests. They're brilliant in their own way and they have abilities, but they don't understand what it is to exist. They don’t know what real human beings navigate and go through.They have a very narrow worldview that's callous and cold and calculated.” 

For many, the overnight ubiquity of this largely untested technology and the collective wealth and power of those supporting it means rampant negative externalities are all but guaranteed. But Roher's apocaloptimism (we'll see if the term quite catches on) chafes against cynicism and doomsaying. He points to OpenAI’s Sora video generation app, which was heavily criticized as a tool that could lead to more realistic deepfakes, but was unceremoniously killed last week.

"I think people were [made] uncomfortable by it, and good,” Roher said. “And, shame on OpenAI for releasing this thing without any thoughtfulness. I guess the low bar of like, at least they had the decency to pull back and retract it, but only after public condemnation." He added, "to the cynical people saying we're all fucked, I'm like, no fuck you, we're not. Collective action matters.” 

And notably, the entire goal is to think more deeply about the uses of technology than the people actually creating it. "These guys, when you actually sit down with them, they don't have clarity, they can't make you feel better. They don't know themselves. They're just motivated by the unbridled optimism of the greatest profit-making technology in the history of humanity. "

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/the-ai-docs-director-was-scared-shitless-by-ai-so-he-made-a-movie-about-it-145747961.html?src=rss

The Backrooms trailer combines creepypasta dread and A24 prestige horror

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Against all odds, A24’s adaptation of The Backrooms actually looks like a proper elevated horror movie. Hell, it’s even got Oscar winner Chiwetel Ejiofor (12 Years a Slave, Serenity) and Cannes favorite Renate Reinsve (Sentimental Value) onboard. Judging from the film’s fist trailer, which combines The Backrooms creepypasta-born dread around liminal spaces, and A24’s slick horror aesthetic, you couldn’t tell that its director can’t even legally drink in the US yet. Yes folks, Kane Parsons is just 20.

Parsons, AKA Kane Pixels, made a splash four years ago with his original Backrooms shorts, the first of which has amassed over 73 million views on YouTube. Those were relatively simple episodes created in Blender, but they did an admirable job of feeling genuinely creepy. More recently, Parsons has also dabbled in horror shorts with his series The Oldest View.

While Parsons certainly has a ton of internet clout behind him, he also has a strong eye for slow-burn horror. This trailer alone is making me feel uneasy about heading into my dimly lit basement office. He also won’t be the first internet creator to reach cinemas this year. Markiplier’s adaptation of the indie game Iron Lung was particularly notable, since he funded both the production and theatrical distribution on his own.

The Backrooms joins Genki Kawamura’s adaptation of the game Exit 8 as another new horror film about spooky liminal spaces. It’ll be interesting to see how the two compare. The former started as 4chan stories and images around eerily empty buildings, while the latter was a game where you slowly walked through a repetitive Tokyo subway. There’s more room for Parsons to turn The Backrooms into a narrative of his own, whereas Exit 8 is somewhat restricted by the original game.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/the-backrooms-trailer-combines-creepypasta-dread-and-a24-prestige-horror-213602238.html?src=rss

The AI Doc explores how we can survive an uncertain AI future 

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Anxiety, more so than technological rigor, sits at the heart of The AI Doc: Or How I Became an Apocaloptimist. Director Daniel Roher is anxious about the future he's bringing a child into — will it be an AI-driven utopia? Or does it spell certain doom, something explored in countless sci-fi stories. To figure it all out, he interviewed some of the most well known AI proponents and critics, including The Empire of AI author Karen Hao, AI researcher Emily Bender and Anthropic CEO Dario Amodei.  

The AI Doc, which hits theaters this weekend, doesn't really shed new light. For that, I'd recommend reading Hao's industry-defining book, which chronicles the rise of OpenAI and the precarious nature of its business. But I don't think tech-heads are the main audience for this film. Instead, Roher is trying to break down the state of AI for mainstream audiences, the folks who may occasionally use ChatGPT or Google's Gemini, but aren't aware of why they're controversial. In particular, the film exposes the near-religious devotion many in the tech world have around AI. 

It's not a spoiler to say that Roher ultimately adopts an "apocaloptimist" viewpoint. He's aware of the potential dangers of AI, and that it will likely have some serious societal impact. But, he also thinks humans have the ability to shape where it's headed. AI proponents have a near-religious belief in the eventuality of artificial general intelligence (AGI), or AI that can match and surpass human capabilities. But AGI isn’t inevitable, and Roher argues there’s room for critics and the public to push back. 

We’re seeing small examples of AI resistance already. Just look at the viscerally negative response to NVIDIA's DLSS 5 AI upscaling; Microsoft's recent plans to pull back on Copilot AI features in Windows 11; or OpenAI shutting down its Sora AI video generation app. (The latter may be due to the sheer expense, but Sora has certainly seen plenty of criticism.) If enough people say no to various implementations of AI, tech companies will be likely to respond.

Daniel Roher in The AI Doc.
Daniel Roher in The AI Doc.
Focus Features

The AI Doc splits its narrative between true believers — like OpenAI CEO Sam Altman and Anthropic CEO Dario Amodei — and prominent AI critics — like Tristan Harris, the co-founder and president of the Center of Humane Technology, as well as linguistics professor Emily M. Bender. It's easy to feel a bit of whiplash when the film moves from people who genuinely think AI will lead to some sort of utopia (and who will also become insanely rich in the process), and the extreme critics who think it will mean the end of humanity. At one point, Harris mentions that some of his friends working in AI risk assessment believe that their kids "won't see high school." There's that anxiety again. 

While The AI Doc squeezes an impressive amount of notable interviews in its hour-and-43-minute runtime, I would have liked to hear more from critics like Timnit Gebru, a former Google AI researcher who also ties the development of AI into a rise of "techno-fascism" in Silicon Valley. She appears briefly in the film, but her perspective isn't fully fleshed out. The AI Doc doesn't dig very deeply into the driving forces behind AI, whereas Ghost in the Machine, this year's other major AI documentary, draws a direct line between the rise of eugenics and Silicon Valley. (Ghost in the Machine is headed to theaters this summer, and will air on PBS in the fall.) 

It's the sort of energetic, animation-heavy documentary that wants to make sure the audience is never bored. But the threat of AI deserves more nuance and critical scrutiny. At worst, The AI Doc may make more people question the value of AI as the tech industry becomes more desperate to make it a success.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/the-ai-doc-explores-how-we-can-survive-an-uncertain-ai-future-154341735.html?src=rss

Engadget Podcast: Can Microsoft fix Windows 11 by dumping AI?

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It turns out people don't actually love having Copilot shoved into their faces. This week, Devindra and PCWorld Senior Editor Mark Hachman discuss Microsoft's surprising plan to "fix" Windows 11 by refocusing on customization and core features, instead of bringing Copilot AI into tons of apps. Is there any enthusiasm left for Windows? Or will most people be better off considering macOS or Linux?

  • Microsoft hits the reset button on Windows 11, de-emphasizing Copilot AI – 1:03

  • OpenAI pulls the plug on its Sora video generation app after just 5 months – 25:23

  • Meta’s terrible week in court, part 1: $375 million ruling in New Mexico child engagement case – 33:58

  • Meta’s terrible week in court, part 2: Meta and Google lose landmark social media addiction suit – 38:49

  • OpenAI puts erotic chat on hold indefinitely – 43:49

  • Update your iPhones: iOS exploit ‘Darksword’ released on GitHub – 46:39

  • Epic games lays off 1,000 workers after Fortnite engagement dips – 47:48

  • Honda and Sony kill off their Afeela EV collaboration – 49:26

  • Listener Mail: Which Mac Mini to get for a budding pro photographer – 55:15

  • Pop culture picks – 57:52

Host: Devindra Hardawar
Guest: Mark Hachman
Producer: Ben Ellman
Music: Dale North and Terrence O’Brien

This article originally appeared on Engadget at https://www.engadget.com/computing/engadget-podcast-can-microsoft-fix-windows-11-by-dumping-ai-122601592.html?src=rss

Engadget Podcast: Can Microsoft fix Windows 11 by dumping AI?

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It turns out people don't actually love having Copilot shoved into their faces. This week, Devindra and PCWorld Senior Editor Mark Hachman discuss Microsoft's surprising plan to "fix" Windows 11 by refocusing on customization and core features, instead of bringing Copilot AI into tons of apps. Is there any enthusiasm left for Windows? Or will most people be better off considering macOS or Linux?

  • Microsoft hits the reset button on Windows 11, de-emphasizing Copilot AI – 1:03

  • OpenAI pulls the plug on its Sora video generation app after just 5 months – 25:23

  • Meta’s terrible week in court, part 1: $375 million ruling in New Mexico child engagement case – 33:58

  • Meta’s terrible week in court, part 2: Meta and Google lose landmark social media addiction suit – 38:49

  • OpenAI puts erotic chat on hold indefinitely – 43:49

  • Update your iPhones: iOS exploit ‘Darksword’ released on GitHub – 46:39

  • Epic games lays off 1,000 workers after Fortnite engagement dips – 47:48

  • Honda and Sony kill off their Afeela EV collaboration – 49:26

  • Listener Mail: Which Mac Mini to get for a budding pro photographer – 55:15

  • Pop culture picks – 57:52

Host: Devindra Hardawar
Guest: Mark Hachman
Producer: Ben Ellman
Music: Dale North and Terrence O’Brien

This article originally appeared on Engadget at https://www.engadget.com/computing/engadget-podcast-can-microsoft-fix-windows-11-by-dumping-ai-122601592.html?src=rss

Project Hail Mary could teach humanity a thing or two

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It's hard not to find the premise of Andy Weir's Project Hail Mary instantly compelling: Something is slowly killing the sun and threatening life on Earth. That same mysterious force, dubbed the Astrophage, also destroyed every nearby star — except one. Our only hope is to visit that solar system and figure out what helped it survive. And there's just one middle school science teacher who can do it. 

At its core is Weir's love of technical problem solving, along with a tremendous performance by Ryan Gosling in full nerd hero mode as the aforementioned science teacher (and former molecular biologist). It's the sort of sweeping sci-fi epic that will make a whole generation of kids ready to science the shit out of humanity's future problems. And maybe it'll remind clueless adults that we gain much more by working together to solve global issues, instead of being purely self-interested.

The film starts with Gosling's character, Ryland Grace, waking up from an induced coma with no memory. He's shocked to find that he's light years away from Earth, and that the other two members of his crew are already dead. As he gets his bearings, he recalls that he was sent on a last-ditch mission, Project Hail Mary, to save the sun and everyone on Earth. No pressure! These early moments make it clear that screenwriter Drew Goddard (who also adapted The Martian), as well as directors Phil Lord and Chris Miller, can deftly juggle comedy alongside the inherent drama in the story.  

There's something genuinely moving about the mission. With about 30 years before the planet is faced with a global cooling event likely ending in mass starvation, Earth's major political powers put aside their differences and deliver their finest scientific minds to come up with a solution. You can really take your pick with real-world parallels, like the impending climate crisis, or the increasing threat of nuclear war. Simply seeing the world work together feels meaningful in these bleak times. And unlike other space disaster films like Armageddon and Interstellar, cooperation, rather than NASA alone, is the only way forward.

Ryan Gosling in Project Hail Mary.
Ryan Gosling in Project Hail Mary.
Jonathan Olley for Amazon

Sure, humanity's hope for survival ultimately falls on the shoulders of one of the most attractive white men on (or in this case, off) the planet, but you know, movies. It's also not a spoiler to say that Grace isn't entirely alone on his journey. As already revealed by the film's trailers and a ton of social media clips, he's also joined by a crab-like being made of rock, which he simply calls Rocky. They eventually learn to communicate, and it's revealed that Rocky is also on a mission to save their own home planet. 

While we get brief glimpses of life on Earth, and the planning of Project Hail Mary, for the vast majority of the film we're just left with Grace figuring things together with a rock alien. And yet, the film never drags. It's a testament to Gosling's inherent charm, but he also demonstrates an incredible ability to shift from joy and goofiness, to sheer terror, to leading-man heroics on a dime. It's also hard to take your eyes off of Rocky, who is rendered with a loving mixture of practical puppetry and CG. We've never seen a creature like them before – one that, despite having no eyes or mouth, manages to connect with viewers mostly through their very expressive arms.

Ryan Gosling in Project Hail Mary.
Ryan Gosling in Project Hail Mary.
Jonathan Olley for Amazon

Project Hail Mary is ultimately a work of pulp sci-fi as told by an author who loves deeply nerdy technical solutions, as well as a writer and directors who know precisely what makes a great blockbuster tick. But the notion that humanity can collectively come together to do the impossible always tugs at my heartstrings a bit. And yes, there’s the power of friendship, too. In this moment, when things seem particularly bleak, these ideas seem especially meaningful.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/project-hail-mary-could-teach-humanity-a-thing-or-two-154327806.html?src=rss

Engadget Podcast: Why does everyone hate NVIDIA’s DLSS 5 AI upscaling?

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NVIDIA started an online firestorm this week when it announced DLSS 5 at its GTC conference. The company claims it's meant to deliver "photorealistic" lighting and materials in games by using neural processing. But it differs considerably from previous versions of DLSS, which were focused on using machine learning to upscale lower resolutions and generate additional frames, and gamers online aren’t too happy. To help us break this down, Anshel Sag, VP and principal analyst at Moor Insights and Strategy joins us to discuss his experience with NVIDIA's DLSS 5 demos. Also, we dive into what's next for Xbox with Project Helix.

  • NVIDIA announced DLSS 5, the disgust was immediate (with Anshel Sag from Moor Insights & Strategy) – 0:51

  • Arizona attorney general sues Kalshi for operating an illegal gambling business – 36:22

  • Polymarket users threaten the life of a reporter at The Times of Israel over accurate reporting – 36:59

  • Apple announces AirPods Max 2 with improved noise cancellation – 44:33

  • Elon Musk’s xAI faces class action suit over facilitating CSAM dsitribution – 47:38

  • Samsung stops selling Galaxy Z TriFold after 3 months because components got too expensive – 51:22

  • Around Engadget: Apple Studio XDR review, Dell XPS 16 review – 53:49.346

  • Listener Mail: Stick with iPhone on Linux? And are there any good Android tablets? – 55:41

  • Pop culture picks – 58:46

Hosts: Devindra Hardawar
Guest: Anshel Sag
Producer: Ben Ellman
Music: Dale North and Terrence O’Brien

This article originally appeared on Engadget at https://www.engadget.com/gaming/pc/engadget-podcast-why-does-everyone-hate-nvidias-dlss-5-ai-upscaling-121335918.html?src=rss

Gamers are right to be disgusted by NVIDIA’s DLSS 5

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You can sum up the gamer response to NVIDIA's DLSS 5 announcement with the ever-relevant Fallout 4 meme: "Everyone disliked that." Across social media and Reddit last night, I couldn't find anyone who's genuinely positive about the potential for DLSS 5, which uses AI to add "photorealistic" lighting and materials to in-game models and environments. Instead, it's mostly complaints about the feature being another avenue for AI slop. And you know what? I agree.

It's not unusual to see gamers being reflexively angry about new technology on the internet, especially when it's being pitched by NVIDIA as the “biggest breakthrough in computer graphics” since its RTX 20-series GPUs arrived in 2018 with real-time ray tracing. There was plenty of suspicion around DLSS's original AI upscaling model, as well as the "fake" frames generated by later iterations. But the few demos we've seen of DLSS 5 basically look like "yassified" AI filters for popular games.

Leon and Grace from Resident Evil: Requiem have more distinct facial and hair detail, but they look a bit too slick. There are more wrinkles on an old woman in Hogwarts Legacy. And the face, hair and clothing from a Starfield character gain an uncanny sheen.

None of the demos have the immediate impact of the Star Wars real-time ray tracing short ILMxLab produced with NVIDIA seven years ago. That demonstration showed us glorious reflections and lighting effects we'd never seen before in real-time. The DLSS 5 demos, on the other hand, don't look much different from the AI filters that make you look more presentable for Zoom calls. There's no genuine excitement for DLSS 5, just NVIDIA telling us that it's groundbreaking.

There's also plenty of concern about DLSS 5 straying from an artist's original intent, as well as a potential homogenization of game visuals if every developer starts using the feature. NVIDIA claims developers will have "detailed controls for intensity, color grading and masking," which will help DLSS 5 stay in line with a game's aesthetic. But we don't have any direct developer experience with the feature yet — some artists may want far more control than NVIDIA wants to give.

The difference between DLSS 5 and earlier versions NVIDIA's upscaling is like the difference between generative AI and more traditional machine learning models. NVIDIA relied on the latter to make low-resolution textures and models appear sharper, and later to insert generated frames to smooth out gameplay and raise your fps count. As Wirecutter and former Polygon editor Arthur Gies points out, you could argue those features were in service of delivering what developers originally intended. But DLSS 5's neural model applies its concept of "photorealism" on top of what games are rendering -- it's like watching a Pixar movie that let OpenAI's Sora do a final visual pass.

Part of the negative response towards DLSS 5 may stem from a widespread anti-gen AI sentiment, but that doesn’t devalue the criticisms either. Similar to AI generated text, images and video, there’s a dehumanizing aspect about DLSS 5. It can erase the work of human artists (despite how much control NVIDIA claims they have), and it also feels like a calculated attempt to appeal to gamers who just want shinier graphics. NVIDIA showed off how generative AI could be used to create dialog and voices for NPCs last year at CES, but that was also widely disliked (and I called it a genuine nightmare).

Of course, I can’t fully judge DLSS 5 until I see it in action beyond a short demo. But I think the visceral disgust is an important indicator that many gamers aren’t onboard with the AI-powered future NVIDIA is trying to sell us. And perhaps the idea of chasing “photorealism” may be a bit of a fool’s errand. It may be appropriate for some games, but as Nintendo and indie PC devs have shown, you can also make some of the best games of all time without striving for realism. Tears of the Kingdom could use a better framerate and higher resolution textures, but it certainly doesn’t need DLSS 5.

This article originally appeared on Engadget at https://www.engadget.com/gaming/pc/gamers-are-right-to-be-disgusted-by-nvidias-dlss-5-151105593.html?src=rss