John David Washington’s performance as lead character Joshua fails to save “The Creator.” (photo courtesy of 20 Century Studios)

“The Creator” doesn’t trust moviegoers. Blame the writers, director or 20th Century Studios, who knows. From the opening news reel to various characters who exist to explain a plot point and then die, every piece is explained, no mystery unsolved. It requires little thought, even though it desperately wants to be taken seriously.

Artificial intelligence will make our lives better. Then comes an unprovoked attack, decimating much of Los Angeles. The United States responds with an audacious plan to snuff out A.I. around the world, especially in New Asia where humans and robots live in harmony. That’s just the prologue.

“The Creator” officially kicks off with Joshua (John David Washington) and Maya (Gemma Chan) hiding out with simulants, what the film calls sentient A.I. U.S. soldiers soon attack, supported by a militarized space station NOMAD, whose missile attacks prove fatal and precise in the West’s campaign. This night changes Joshua and Maya’s relationship forever.

Five years go by before Joshua is forced back into the fight to end A.I. by locating a devastating weapon created by the elusive Nirmata, the unknown head of A.I. advancement in New Asia. Joshua must decide whose side he’s on, especially when he encounters young simulant Alphie (Madeleine Yuna Voyles).

I went into this one with as little information as possible, not even viewing a full trailer. This is Gareth Edwards’ follow-up to “Rogue One,” so I would see anything from him. That doesn’t mean a dull film gets a pass, and this A.I actioner settles for the familiar and the often unclear. There’s ambiguous, and then there’s whatever this is.

It wants to be “Children of Men” for A.I. Conceptually, maybe that works. It certainly depicts a dystopian vision with a particular kind of futuristic prejudice. But it suffers from a great many things: everything related to characters (dull, obnoxious, easily discarded), an uneven pace and thematic issues at the film’s expense. The ordeal, frankly, feels soulless, more robot than any current A.I.

Allison Janney’s Col. Howell, the central antagonist, is both a miscast and unnecessary subplot. This story doesn’t need a central villain, especially one with so little depth. She’s a nuisance taking up screen time out of obligation. There’s too much of this world to unpack, and precious time is spent on her tiresome chase.

Most shocking, Washington’s performance is another weak point. To be honest, Washington hasn’t enjoyed a commanding lead since “BlacKkKlansman.” Line delivery and cringe-inducing attempts at humor are his undoing. But writers Edwards and Chris Weitz set him up to fail. The character Joshua is unsympathetic, kinda pathetic, a passenger in his own story. As the story progresses, his development occurs without transition. He’s antagonistic then he’s heroic, not much in the middle.

The high point is Yuna Voyles’ performance as Alphie, a young A.I. with unique abilities. Unlike Washington’s progress, hers is more interesting, natural, ending with an earned chill.

Madeleine Yuna Voyles, as young simulant Alphie, is a standout in “The Creator.” (photo courtesy of 20 Century Studios)

The biggest win should be the visual effects. It’s a pretty film with original robot design. The aesthetic matches “Children of Men” to a degree, but the story takes no chances, which undermine all the CG eye candy that should help elevate a strong story, not replace one.

“The Creator” will go down as the biggest disappointment of the year. Perhaps I’m too harsh, but Edwards can and has done better. It’s a pity too. We need more original stories loosed from previously established franchises, like Edward’s own “Monsters” or “District 9,” one of many sources plagiarized here. Hopefully the rising auteur’s next flick will sail more than this sunk ship.