‘The Assessment’ review: Lizzy, art thou mommy material?

Odd. Uncomfortable. Fascinating. The Assessment is a bewildering investigation into free will, parenting and bureaucracy. Every performance is compelling and dialed in. 

We follow Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) through their “assessment” from a government worker to see if they’re fit for a child. In this post-apocalyptic world, about 200–300 years in the future, without the resources to support a growing society, the government has outlawed procreation outside government-appointed parents. Mia and Aaryan’s assessor is Virginia (Alicia Vikander).

Virginia puts these two scientists through rigorous trials of child care, from messes to frustratingly complicated play structures and life-or-death disasters. At points, it seems like Virginia is just out to get them; sometimes, she’s empathetic. Virginia stirs the conversation in this otherwise calm and easy household by simulating a parenting case study by pretending to be a child. 

Alicia Vikander does a remarkable job flipping back and forth between toddler and authority. She is an unsettling presence in the best way. In The Assessment’s final act, Vikander is a mesmerizing tribute to screenwriters Dave Thomas, Nell Garfath-Cox, and John Donnelly’s masterful storytelling as we work backwards toward revealing her character’s motivations. No stone is left unturned in this marvelous film. 

The modern architecture, which makes up the majority of the set design, is incredibly effective in both establishing a different time and a familiar feeling. It has an early Star Wars vibe with the use of concrete and straight lines, and it has a groovy ’70s color palette—a lot of oranges and greens. It’s a delight to watch these characters mingle throughout this space. 

Throughout this tumultuous bond forming between prospective parents and this faux child, there is an evolving understanding of the pressures associated with living in this new world. Even if hunger and fatality are solved, how is loneliness tamed? To answer that question, The Assessment opens your eyes to a plethora of choices: AI, death, and incalculable risk. What do you choose? Artiface, ending, or the unknown outcome of possibility. It’s a gamble, but we have the pleasure of seeing each choice unfold in a masterful exhibition of free will in an encapsulated society. 

Olsen and Patel play perfectly together in this space, bouncing love, pain, and jealousy in a complex relationship relatable to the present day. We see the outcome of exes stopping by, childhood trauma, dramatic parents, and nihilistic personalities clashing against this relationship’s bubble. It’s an honest and unforgiving portrayal of romantic relationships in transition. 

Debut director Fleur Fortuné has created a compelling and beautiful story that excavates emotion from a complex situation that could have easily been overrun by sci-fi’s many tropes and expected outcomes. Yet, in this oversaturated genre, The Assessment stands alone in its unique understanding of speculative fiction’s many opportunities to evoke authentic and daring possibilities much akin to Netflix’s Black Mirror’s success in the same essence. 

The Assessment pleasantly surprised me with its ingenious storytelling. With cameos from Minnie Driver, Nicholas Pinnock, Indira Varma, and Charlotte Ritchie, the world is subtly expanded past the bounds of Olsen and Patel’s house. Yet still, the film is focused on the issue at hand; we only receive glimpses of the future outside this bubble to better understand the internal struggles of our main protagonists.

By clever design, The Assessment hits a steady balance between world-building and character development, which situates the film in a perfect cocoon for the audience to enter as a novice and leave as an expert without overextending our attention span. 

I can’t say enough about this movie. The Assessment is fantastic!