Artificial intelligence has become a hot-button issue during the past few decades that would intensify over time in whatever fields it applied, were it for computers, factories, machines, and most recently, artwork. The fear of computers and machines becoming totally sentient causes major concern about the ultimate extinction of humanity and has inspired media such as the Terminator and Matrix series. One question maybe a few have proposed is "Can robots love?" The late director Stanley Kubrick acquired the rights to Brian Aldiss' short story "Supertoys Last All Summer Long," but its actual film adaptation would come to fruition from Steven Spielberg as A.I. Artificial Intelligence.
In the twenty-second century, climate change has obliterated an overwhelming majority of the world's cities, with female procreation becoming outlawed, and Mecha humanoid robots substituting for additional beings. In New Jersey, a couple, Henry and Monica, receive a prototype Mecha child named David capable of experiencing love, with their biological son Martin being in frozen suspension due to a rare disease. David befriends Martin's old talking robotic bear, Teddy, who accompanies him on his various journeys throughout the film, with some unexpected twists occurring early on that I can't really elaborate upon due to their spoilerific nature.
Stanley Kubrick was hesitant to flesh out his original vision for the film because he felt that CG wasn't advanced enough to create David and that no human child could convincingly portray him, but Haley Joel Osment did an excellent job in the role, with the other performances, like Jude Law as the prostitute Mecha Gigolo Joe, being superb as well. The visual effects are beautiful as well and have aged well, with John Williams' score also being emotional. References to Carlo Collodi's classic The Adventures of Pinocchio frequently abound as well. There is some occasional weirdness throughout the movie, but otherwise, I really enjoyed it and would consider it one of Spielberg's magna opera.
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| THE BOTTOM LINE | |
| One of Steven Spielberg's strongest films. | |
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