A.I. ARTIFICIAL INTELLIGENCE is the story of David (Haley Joel Osment), the first mecha (a futuristic term for a mechanized human being) designed with the ability to love. A couple whose son is in a coma "adopts" David to help them recover from their loss. Naturally, things do not go as planned, and David is forced to leave the .. Read more
| Starring | Haley Joel Osment, Frances O'Connor, Sam Robards, Jake Thomas |
|---|---|
| Director | Steven Spielberg |
| Genres | Sci-Fi/Fantasy |
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Steven Spielberg takes the story of Pinocchio, gives it a daring twist and decks it out with terrific special effects in this ambitious, dark-toned fable for the new millennium. Haley Joel Osment (The Sixth Sense) plays an android child, programmed to love and allocated to a couple whose own critically ill son has been cryogenically frozen. When the real son recovers, the robot boy is left to fend for himself in a brutal world that doesn't want him. In a difficult role, Osment proves once again what a fine young actor he is, while Jude Law gives a showy performance as his guide-cum-protector in the dangerous land of mechanised outcasts. The Brian W Aldiss story on which the film is based caught Stanley Kubrick's imagination more than 20 years ago, yet even before his death he had commented that Spielberg would be the ideal director for the project. There's a nod to Spielbergian cuteness in the shape of a talking teddy bear who accompanies the robot, but this is no feel-good romp in the ET vein — it is one of the director's bleakest works and Osment's desperate quest to become a real boy and win back the love of his human mother is a disturbing one.
Overlong, often spectacular, but fuzzy updating of the story of Pinocchio. Beneath its surface gloss, and sentimental whimsy, there is a darker theme of the end of humankind: the narrative equates love with biological imprinting and prefers mechanical fa
David (Osment) is a Mecha-boy, a robot prototype who thinks and feels like a real boy. Monica and Henry (O'Connor and... read more on Time Out
A.I. comes under one of those films that you will either love or hate and I will explain in a moment. For me I enjoyed this film with good characters and equally good acting. The script is very well put together and Speilberg does (as usual) a good job of telling the story. John Williams provides the score and as you would expect is up to his usual standard. Although the film is maybe half an hour to long it doesnt lose its way and will keep you gripped. Now the ending is why I say this film may be a hit or miss with you. It does take a dramatic turn and goes in a direction that you will not expect. It does work but some may think this was a step too far. On the whole a good solid film and worthy of a try.
Went to the cinema to see this with my 13-year old son. Expected a lot, but all we got was very bored.
There were quite a few good moments in this, to be fair. But it felt like a good 60 minutes squeezed into three hours. Not sure how long it actually was, but it certainly felt like three hours.
Maybe as a DVD to watch at home it could be OK, you can always turn it off or perhaps clip your fingernails to double the excitement of the movie, but I could not honestly recommend it.
This is Spielbergs best film of the last 20 years. Many seem to find its emotional shifts difficult to relate to and misconstrue the film to be sentimental, but really this is the closest Hollywood has come to a big budget art house film in recent years. In tone it is much closer to the work of David Lynch than to the cheap emotional manipulations of Bicentennial Man, to which it has been compared.
A.I. is a film in three parts. The first section is closest to the spirit of co-scenarists Stanley Kubrick's emotionally distant tone and it is brilliant and disturbing.
The second part starts well with the robot hunt, but is the weakest stretch of the film. Spielberg seems uncomfortable around the sexuality of Law's Gigolo Joe character and much of the robot smash derby up feels like a bad Mad Max clone. For a while the film doesn't seem to go anywhere.
The much maligned last act, taking place in a submerged New York is a triumph and the most mature, poetic and (literally) chilling piece of filmmaking Spielberg has yet given us. Many have accused the ending of being sentimental, but I think it is emotionally satisfying while being surprisingly bleak.
I'd give this 0 stars if the system would allow it... it was not only incredibly dull but also irritating, sentimental and badly paced.
My favorite moment? Every 5 seconds when I blinked and saw darkness...
Do. Not. Watch. This. Film.
There's a moment in this film when you think - OK, it's finished now, I'm unimpressed but I'll accept that as a suitable ending; and then it goes on for another 20 minutes, taking a most unexpected and frankly ridiculous path that negates the 'false' ending, giving you an overly sentimental finish. It's as if Spielberg thought 'Stanley would finish with the downbeat ending, but I'm going to go for an E.T. finish, yeah, that'll work, it worked 20 years ago!' NO STEVEN NO!
A.I. comes under one of those films that you will either love or hate and I will explain in a moment. For me I enjoyed this film with good characters and equally good acting. The script is very well put together and Speilberg does (as usual) a good job of telling the story. John Williams provides the score and as you would expect is up to his usual standard. Although the film is maybe half an hour to long it doesnt lose its way and will keep you gripped. Now the ending is why I say this film may be a hit or miss with you. It does take a dramatic turn and goes in a direction that you will not expect. It does work but some may think this was a step too far. On the whole a good solid film and worthy of a try.
Went to the cinema to see this with my 13-year old son. Expected a lot, but all we got was very bored.
There were quite a few good moments in this, to be fair. But it felt like a good 60 minutes squeezed into three hours. Not sure how long it actually was, but it certainly felt like three hours.
Maybe as a DVD to watch at home it could be OK, you can always turn it off or perhaps clip your fingernails to double the excitement of the movie, but I could not honestly recommend it.
This is Spielbergs best film of the last 20 years. Many seem to find its emotional shifts difficult to relate to and misconstrue the film to be sentimental, but really this is the closest Hollywood has come to a big budget art house film in recent years. In tone it is much closer to the work of David Lynch than to the cheap emotional manipulations of Bicentennial Man, to which it has been compared.
A.I. is a film in three parts. The first section is closest to the spirit of co-scenarists Stanley Kubrick's emotionally distant tone and it is brilliant and disturbing.
The second part starts well with the robot hunt, but is the weakest stretch of the film. Spielberg seems uncomfortable around the sexuality of Law's Gigolo Joe character and much of the robot smash derby up feels like a bad Mad Max clone. For a while the film doesn't seem to go anywhere.
The much maligned last act, taking place in a submerged New York is a triumph and the most mature, poetic and (literally) chilling piece of filmmaking Spielberg has yet given us. Many have accused the ending of being sentimental, but I think it is emotionally satisfying while being surprisingly bleak.
I saw this film about 18 months ago and it still sticks in my mind as possibly the worst film I have ever seen. It is sentimental, and overly long. Just when you think it is going to end, the nightmare is dragged out for another 30 minutes.
went to aae this and i fell asleep this is how boring this film is.
so u have been warned!
Jesus this film has the most ridiculously sentimental endings I've ever seen. You just want to fly into your toilet and start spewing like a nutter. The movie has some genuinely moving moments as our little hero encounters some discarded robots but overall it all looks a little cheap to me. Not sure what Kubrick would have made of the ending.... actually I do know - he probably would have given Spielberg a slap.
There's a moment in this film when you think - OK, it's finished now, I'm unimpressed but I'll accept that as a suitable ending; and then it goes on for another 20 minutes, taking a most unexpected and frankly ridiculous path that negates the 'false' ending, giving you an overly sentimental finish. It's as if Spielberg thought 'Stanley would finish with the downbeat ending, but I'm going to go for an E.T. finish, yeah, that'll work, it worked 20 years ago!' NO STEVEN NO!
Hugely disapointing film from one which promised so much. The execution was dismal and the picture was slow from the start, never really picking up any pace. Couldn't watch the film all the way through (though did try, twice!) and can't imagine what the 'bonus' disks had to offer. Concept is brilliant, but failed to impress.
This movie was pretty boring but had one saving grace - Teddy! He was safe and held the whole movie up by himself. Give him his own film, he deserves it.
Is this the worst film ever made? I think so.
Steven Spielberg takes the story of Pinocchio, gives it a daring twist and decks it out with terrific special effects in this ambitious, dark-toned fable for the new millennium. Haley Joel Osment (The Sixth Sense) plays an android child, programmed to love and allocated to a couple whose own critically ill son has been cryogenically frozen. When the real son recovers, the robot boy is left to fend for himself in a brutal world that doesn't want him. In a difficult role, Osment proves once again what a fine young actor he is, while Jude Law gives a showy performance as his guide-cum-protector in the dangerous land of mechanised outcasts. The Brian W Aldiss story on which the film is based caught Stanley Kubrick's imagination more than 20 years ago, yet even before his death he had commented that Spielberg would be the ideal director for the project. There's a nod to Spielbergian cuteness in the shape of a talking teddy bear who accompanies the robot, but this is no feel-good romp in the ET vein — it is one of the director's bleakest works and Osment's desperate quest to become a real boy and win back the love of his human mother is a disturbing one.
Overlong, often spectacular, but fuzzy updating of the story of Pinocchio. Beneath its surface gloss, and sentimental whimsy, there is a darker theme of the end of humankind: the narrative equates love with biological imprinting and prefers mechanical fa
David (Osment) is a Mecha-boy, a robot prototype who thinks and feels like a real boy. Monica and Henry (O'Connor and... read more on Time Out