The best that cinema has had to offer since 2000 as picked by 177 film critics from around the world.…
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.
Only Kubrick and Spielberg, working together on different time planes, could create such a philosophical and intellectual heartbreaker.
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…
Film 23/30 of Scavenger Hunt 17
Task #26: A film with an acronym in the title
A.I. is a revelation. From a story concocted by the late Stanley Kubrick and directed by one of my favorite filmmakers ever Steven Spielberg, I honestly couldn't keep my eyes off the screen for 2.5 hours. From its thought-provoking ideas about artificial intelligence, creating robots that can love without replacing the actual humans, and what happens if hatred can replace the love and care put into the creations, to the top-notch marvel of visual filmmaking (especially in how ILM could convince me that Haley Joel Osment is a robot), to the marvelous Kubrick homages Spielberg puts in his directing, to compelling performances from…
This review may contain spoilers. I can handle the truth.
This movie was pretty good. It looked amazing, it was well-acted, and the story was compelling. BUT: If this movie had ended before the aliens resurrect the kid robot, this would have been a much better movie. Something about that alien ending really really bugs me and spoils the movie a bit for me.
An underappreciated science fiction classic. A little experimental for a Steven Spielberg film in which I found to be a gem. A powerful grip on the main character David played by Haley Joel Osment, in which it composes something similar to the tone of a children's book. In fact, the story Pinocchio is read in one scene and sets a gorgeous symbolism.
A convincing performance from Haley Joel Osment and his struggles as a boy who is a robot. Not so much original with its story as it is with its characters and how they are set in motion. Hauntingly convincing portrayal of the boy and how he is neglected, gets separated and wants to feel more regular as a robot.
Top Tier Spielberg because Kubrick helped him out
Very uneven film, with almost chapter like structure. Feel like there's four films in one that deserve to be rated independently.
Part I - Replacing Our Son with A Robot - 2.5/5: Fascinating enough to watch the first time around, there's a certain repulsion that I couldn't help feel with the trajectory of this storyline which leads to inexorable disposal of David character that make this very difficult and unpleasant to watch. This is no doubt the intention of the filmmakers. But where Kubrick has unfailing ability to both repulse (with subject matter) and seduce (with cinematic flourishes), Speilberg disappoints. Perhaps most with the choices Janus Kaminski makes with the cinematography. The film looks awful but in an entirely uninteresting…
B- (down from A-).
This is by far Spielberg's messiest film, but it's also easily my favourite and arguably his best.
Rather than following the rigidly conservative structure and visual aesthetic he is known for, he dabbles in artistry. It's such a fucking shame that it didn't pay off in the Box office and the original critical response, because it is stunning. Even the computer effects hold up after 15 years! It is a truly masterful piece of filmmaking and definitely his most visually striking.
The narrative is a mish-mosh of many huge, unwieldy concepts and several vastly disparate genres. It works if you go in without expecting anything in particular. It's not a straight mature sci-fi, but it's certainly not a family film…
This movie actually made me cry, which is annoying, because I didn’t even like how it ended. I guess the way it ended is the reason why I cried, but if I’m gonna cry about a movie, I want to at least like it. Not that it was a bad movie, because the world created for it was pretty cool, but the ending was just meh.
Due a rewatch, I think this is one of those rare times where a film gets a low rating and i didn't like it because of how sad it made me. i saw it when i was 10-12 and i didn't understand how it could be so sad.
due a rewatch probably, as i know the actually plot and premise are great and it will be interesting to watch as an adult.
SO SAD THO.
Ok, here's how voting is going to work:
Each ballot will consist of ten films, ranked. The first film will…
Films where their style fills the screen so absolutely, substance is but an afterthought.
Only added some that I've seen,…