Viki, though seemingly flawless and almighty in its created intention, develops to be the most flawed machine from them all; her incomplete capability to understand the world and the human race inevitably leads her to deficient reasoning showing her weakness to comprehend complex situations beyond statistics. 
            Her inhuman-like characteristics, both physical and mechanical, contrasts with Metropolis 2001’s Tima and Fifth Element’s Leeloo.  Whereas both these supreme beings – modeled in the image of man – are born to be fated as saviors, Viki was not.  Contrastingly, Viki’s actions are the result of her own assessment and her aspiration to save the human race from itself is one of which was made-up on her own without human application.  Furthermore, she is designed to look like and act as a machine; a holographic image of a woman’s face represents her existence.  This holographic depiction creates a sense of uncanny in the film as she is clearly not human, but her representation mirrors the form of a human face.  Furthermore, her eyes are rendered almost non existent, which is uncanny in itself as the eyes are the facial feature which we are most drawn to; it is where the soul lies.  In this case, there is no soul of Viki.
          Sonny, on the other hand, is designed much more closely to Tima and Leeloo.  He is equipped with the ability to learn, feel, and dream.  His nature is reminiscent of a true being, and his existence and function still remains honest to his creator; he becomes a savior only as a result of his instilled purpose.  His eyes are clearly depicted throughout the film; as a result, creating a soul for the robot.  Sonny falls deeper in the uncanny valley as his depiction is closer to man.  The idea of a robot with a soul is uncanny itself – it is not human, yet it has the essence of a true human spirit. [ Right: the unique machine - Sonny - with a soul. ]