All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
A.I. Artificial Intelligence
Journey to a world where robots dream and desire.
Eleven-year-old David is the first android with human feelings. He is adopted by the Swinton family to test his ability to function. Before they are done testing him though David goes off on his own following his wish to be a human. He is on an odyssey to understand the secret to his existence. A science fiction film from Steven Spielberg taken over from Stanley Kubrick.
A graceful, yearnful masterwork of connection and evolving artificiality within the tattered seams of the human heart. Reflections, sunrises, and countless other grand images compliment a bittersweet story laced with impenetrable darkness.
Top 3 Spielberg.
But in the beginning, didn't God create Adam to love him?
Its known that the elusive Kubrick was good friends with Steven Spielberg; the two brains even had dinner together and often talked for hours about their respective beliefs, influences and cinematic creations. What I would give to see, or hear those two talk...
Artificial Intelligence is the cinematic embodiment of those dinner table talks.
Obviously, the melding of minds between two titans of cinema was going to be a very peculiar project. A.I. is what some would like to describe as a rough handoff, or uneasy transition. The film was almost entirely conceptualized by the great Kubrick before being suddenly handed off to Spielberg a couple years short of…
A person recently told me that while he felt unprepared to raise children, he definitely intended to have them, sooner rather than later, with the hope that their existence would bring order and focus to a life lacking these attributes. This seems like a terrible but definitely not untypical plan, and the question is what kind of abuse, neglect, resentful behavior and other forms of parental distancing take place when (as must often be the case) children turn out not to be reliable emotional crutches or conveyers of constant feel-good vibes but flawed, idiosyncratic human beings for whom no reaction is yet normal or expected, adolescents who will be frustratingly strange and inadvertently terrifying until they've been exposed to enough…
"Why do you want to leave me? Why? I'm sorry I'm not real. If you let me, I'll be so real for you!"
The dawn lets everything in. The rays of the sun flow through the fractured lives of the suspended dust and the blinds of the half-opened windows. The birds greet humanity again with their gently soft whispers, and as you wake, the day is upon you. And yet, some don't wake along with the light. During the slumber of the night, among the stars gleaming against the void, loss occurs. It is peaceful, calm, and releasing; sending the spirit into a place unknown and undiscovered to those who live. We don't mourn the loss of a person, we mourn the memories that still ache within our hearts and our souls. Dreams are immeasurable, and the bonds from those dreams are unbreakable. Sleep is a gateway to connection.
I’ve been rolling over in my mind over the past day how to characterize Steven Spielberg’s A.I. Artificial Intelligence; is it a tribute, a homage, a love letter? No, I now think it was a debt of honor.
Stanley Kubrick was a geek. His wife Christiana once remarked that Stanley would be happy with five tape recorders and one pair of pants. He gave us what some feel is the greatest science fiction film of all time. He was fascinated not only with technology, but in the human condition. This is what brought us 2001, and the first credible filmic AI, HAL. HAL was part of our evolution. Part of the evolution of mankind.
Not too many years after 2001…
Kubrick's films to me are often a paint it by numbers image that requires me as a viewer to decide what colour should go where.
A.I. is that image created by Kubrick already coloured in by Spielberg, which is what essentially bugs me about this film.
I appreciated the visuals, the acting and a couple of sequences more this time round, but the insistent hammering home of the themes and messy pacing just don't work. There is nothing left to ponder about, nothing left to explore or discover, which is a great shame as it is a film that certainly would have lent itself well for that.
When you're set out to explore themes about what makes us human you should start with the questions, not with the answers.
"I am. I was."
If this film ended with the narration at the end of the blue fairy/Coney Island scene, it would be close to perfect. The extended ending, while intriguing, is a complete misfire in my opinion, and it doesn't matter whether it was Kubrick's or Spielberg's idea, it just does not play. The look of the evolved robots, and the overall idea of the resurrection of the mother, just leaves me thinking "huh". The blue fairy/Coney Island scene fits the film's tone much better, with its bitter sweet commentary on following your dreams. Overall the movie is a great ride, and captures my imagination, but that second ending just leaves a bad taste in my mouth mind.
Beautifully shot with symbolism throughout as Spielberg presents a view of a divided future between humans and robots.
Things turn a bit odd towards the end and it concludes in a soppy fashion, but on the whole a memorable film.
Jude Law with a fun turn as a robot gigolo.
This is a very genuine film with great filmmaking behind it. A.I. brings a lot to the table, yet it did waste a lot of potential and didn't expand on too many ideas like it should have.
What it does focus on is something else.
In a certain sense though, it's beautifully fascinating - and flawed.
Never before have I seen a film so shockingly affecting. Never before have I seen such a harmonious synthesis of the conventional blockbuster and the meditative art film. Never have I seen a film so condemning of the modern world. Never have I seen a film so unafraid of sentimentality, where it nearly always stays on the line, yet never becomes mawkish or maudlin, and is always utterly, firmly, heartbreakingly devastating.
I must say, I have not seen a Spielberg film for a while, for probably a year, so I cannot speak to how closely this hews to his directorial style. However, I can say that this does not feel like a Kubrick film, at least in formalist terms. Though…
How or why anybody could say Steven Spielberg took Stanley Kubrick's dark premise for "A.I. - Artificial Intelligence" and tacked on a happy ending is beyond me. Not only because the ending was pretty much what the late Kubrick envisioned for the story to finish, but also because those final minutes are nothing short of disheartening. A science-fiction take on the classic "Pinocchio" fairy tale, Spielberg constructs his futuristic world with a toxic gloom that slowly clashes our current world with that of genre lore: surrounding his artificial lead hero with a world of monsters and horrific scenarios that ultimately lead him on his journey to be back with the woman he has been programmed to love: an emotion he was never really born with and literally the only thing he knows how to feel.
A reworking of PINOCCHIO set in the future; realistic "young boy" android David (Haley Joel Osment) is adopted by a couple whose child is in a coma. When said child awakes, and provokes David to cause unintended mishaps, the parents decide to dump the android (along with a robot teddybear) in a forest to fend for himself. Stanley Kubrick famously desired to bring A.I. to fruition for decades, going through various tests, ideas, and screenwriting collaborators, before handing the material to Steven Spielberg. After Kubrick died, Spielberg set to work on A.I. as a tribute to Kubrick. While the movie has a few subtle nods to the man's oeuvre, and (reportedly) stays faithful to one version of the screenplay, A.I.…
Visually stunning and narratively complex, it manages to combine Spielberg's and Kubrick's sensibilities without feeling too uneven. Basically, it's a three act work. The first act feels like typical Spielbergian family drama, with the (relatively) light tone and comedic aspect. It raises issues of humanity, but never really tackles them, leaving that for the second act, a dark, imaginative piece that manages to be both entertaining and deep. It's my favourite bit of the film. By the third act, a lot of enjoyment has faded from the film, leaving a deeply though-provoking work that I still don't think I've got a handle on. The gradual shift from light to dark is accomplished well, and the end isn't as frustrating to…
This review reportedly contains spoilers. I can handle the truth.
I can appreciate where this movie tries to go in the last act, but it doesn't really work for me. I think the stronger ending would be just to cut to black as David sits underwater, asking the same question over and over until the end of time. Now that's a bummer ending I could get behind.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!