All the films from all the editions, including those subsequently removed, presently totalling 1167. 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.
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…
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…
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.
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.
This review reportedly contains spoilers. I can handle the truth.
It may be my favorite film ever. I love this movie. I have only seen it 5 times. The first time I watched it, I thought it was good, nothing special. The second time it hit me, and every subsequent viewing the movie completely overwhelms me. I love it so much I cannot watch it often, because when I do watch it, the thing destroys me.
I saw this last Sunday night, and could not bring myself to write a proper review for days. Even then, the document I wrote blathering on about my love for the movie was without structure or coherence, full of contradictions and weird bursts of emotions that is better to be lost forever in cyberspace.…
When an android created to be a surrogate child is abandoned after the couple’s terminally ill son is revived and cured, it sets on a quest to become a real boy and win back a mother’s love. Spielberg’s take on this former Kubrick project is about as subtle as an uppercut from a Rock ’Em Sock ’Em Robot. Forget the visual and thematic allusions to everything from Oedipus to Pinocchio (not to mention movie precursors like D.A.R.Y.L., Bicentennial Man, Frankenstein, and even Blade Runner)—this falls apart at the basic storytelling level. It begins well enough, but ultimately fails to deliver on its initial promise. What we get instead is a feel-good deus ex machina payoff that’s cornier than a five-dollar bucket at the cineplex. Disappointing, chiefly because it squanders an otherwise bang-up performance by Haley Joel Osment.
Eh. Previous remarks on robot performances apply here.
This review reportedly contains spoilers. I can handle the truth.
My opinion on this film has changed drastically over the years. At first I thought it was a fascinating misfire, with Spielberg and Kubrick's respective genius perspectives not meshing all that well, especially with the notorious coda set 2000 years in the future. But partway through college I started filling my gaps in Spielberg's filmography and my estimation of him as a filmmaker grew, as has my appreciation for this film. From a purely aesthetic viewpoint it's astonishing, Janusz Kaminski does some of his most versatile work here, and Rick Carter's set design and Stan Winston's animatronic work making the wonder and terror that power the film tactile; the strangeness borne out of the dueling sensibilities of its chief creators…
Most of Speilberg's films are at least partially about the avoidance of children because of lonliness. This one is the inverse: the avoidance of lonliness trough children. And that makes it stranger, and sadder, than his other films. It has impeccable design and effects, but remarkably doesn't lose its core humanity. If only all films were conceptualized by Kubrick and directed by Spielberg, or imagined by Spielberg and directed by Kubrick.
This is a world where everything can be healed but lonliness, and so it comsumes everyone. The stark blue and gray of the first act make the sadness obvious, but the cityscape is equally sad. Colorful, but with no regard for comfort.
It's a dizzying pinnochio story for the age of the blockbuster, and thankfully realizes the full potential of that idea.
Don't waste more than 2 hours for this movie if you love Pinocchio.
The story about the adventure of robotic boy want to become "real" and find his mother... The plot is empty, long and boring. I don't know why Roger Ebert called this is "Great Movie" although he gave 3 out of 4 stars before. The characters is not strong enough. Did Monica, his mother try to find him again until she is dead? And I think the appearance of Joe isn't necessary. He is a terrible male prostitute Mecha. In the separation between Joe and David:
"David: Goodbye Joe!
Joe: Goobye David! I am... I was... !"
And he is and was what? I can't understand. Stupid character.…
Steven Spielberg is a director that I generally respect. For all of his mediocre work, he knows how to make a stimulating film. His camera work and awe-inspiring image-to-sound combination has definitely earned him a place among the best directors making mainstream movies, even 40 years into a fruitful career. The worst that I can say is that I just don't connect with the story. He doesn't create anything controversial enough to upset me.
Yet here is this film. It plays like a con of sorts. For longtime fans, the very name recalls E.T.: The Extra Terrestrial. The return to sci-fi is a welcomed landscape and the artificial intelligence concept was ripe for adapting in 2001, prior to the incessant…
With this and the very next year's Minority Report, Spielberg made two really great science fiction films that stand the test of time. That is, if you stop this movie where it should end (Under the sea, under the sea, Darlin’ it’s better, Down where it’s wetter, Take it from me). He mixes emotion and dark black comedy together so well.
Jude Law and Haley Joel Osment are both at the top of their games here. I guess I'm just finally figuring out that I like Jude Law in just about every role he plays, especially a dancing sex-bot.
If you haven't watched this in a while you definitely should, just not all the way to the end. Here's a helpful hint: if the movie seems like it ends beautifully and then keeps going into something really stupid and out of place with the rest of the film, you done gone too far.
first of all: matt mcguire?? (such a little pest, first to david, then to lizzie)
second of all: ted. that is ted.
Spielberg's vision during this period is insanely underrated. The best CGI ever seen, and it was nearly 15 years ago.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!