Most of Chappie's 'science' in Neill Blomkamp's near-future-dystopian, sci-fi/action feature is kept to a Hollywood simplicity, as is any 'message' concerning consciousness and artificial intelligence.

A few titles are reminisced upon with the idea of Chappie; a decommissioned, reprogrammed, police robot, who goes by the same name as the movie - given the gift of Artificial Intelligence by coding nerd Deon Wilson (Dev Patel). Other titles have taken this idea further from where Chappie remains, but what it boasts is a joyful playfulness that manages to explore other facets of the innocence of youth and early development.

Written by Blomkamp and his wife Terri Tatchell, Chappie is once again set in the gritty, derelict backdrop of Johannesburg, South Africa, previously established in Blomkamp's 2009 feature length debut District 9. Complete with its unruly Mad Max-esque, motley crue of zoot-toking, pink-Uzi-toting criminals and gangsters.

Blomkamp's favourite first man Sharlto Copley is also reprised for the voice and motion captured movements of Chappie. Copley is able to conjure a skittishness that lends to Chappie's wavering progress as he stumbles between understanding morals instilled by maker Deon (Patel) and the polluted influence of Ninja (real life Die Antwoord rapper, also of the same name) exploiting Chappie for his own corrupt means. Yolandi Visser, also as herself, takes upon the role of the conflicted mother. She has a nurturing love for Chappie, but is part of the violent cycle that they feeding him in to.

Many reviews have failed to see the charm of Chappie. It is neither a straight ahead action flick, nor is it a high concept, sci-fi piece for any resounding 'message' to be derived. It does little to explain the science involved, just as it ignores the diverse pool of accents on offer. This is a purposeful trade off which makes way for the slightly twee, almost 'Jar-Jar-Binks' aspect of Chappie's personality. Thankfully it remains on the path of discovery and progression, and hopes to shake off any childishness.

Hollywood giant Hugh Jackman, takes the role of Vincent Moore, an intended 'too close for comfort' foe to Deon. Armed with a ghastly mullet, knee-high shorts and a gun belt, undermining any megalomaniac aspirations that his character may have, Jackman's performance is nuanced and authentic. Sigourney Weaver is also on board as Michelle Bradley, the head of weapons company 'Tetravaal' (also the name of Blomkamp's original conceptual short for Chappie). With stern-faced authority, and a 'buck stops here' dismissiveness, she goes between praising whizz kid Deon, and scolding Vincent, whilst trying to keep everybody happy in between.

An initial rupture between Deon and Vincent occurs in their office; fully staffed and in broad daylight, Vincent pins Deon to the desk and points his gun to his head, threatening him, the tension eases quickly as Vincent laughs off the fracas, and everybody else oddly ignores what just happened and returns to doing whatever it is they are doing on their computers (minesweeper?).

There is a majesty to Neill Blomkamp's unjustified style, he knows what he wants to say and doesn't stick around to explain his actions. There is very little conceptual experimentation and he glosses over poignancy swiftly. As previously stated, other films have delivered more honed and absolute versions of the Man vs. Machine conflict, or the question of consciousness within circuitry. However, Blomkamp knows that's not what the masses are really interested in for this outing, and neither is he. Chappie's swagger and gangster style adds to the vaguely gratuitous elements.

Transformers this is not, we know this, but even Wall-E made more of a thoughtful assimilation of the various dilemmas touched upon here. I'm not sure anyone should feel short changed after 2 hours of this slice of Zef Style glory, just don't expect an Ian M. Banks adaptation.