A boy stands on a station platform as a train is about to leave. Should he go with his mother or stay with his father? Infinite possibilities arise from this decision. As long as he doesn't choose, anything is possible.
He was a writer. He thought he wrote about the future but it really was the past. In his novel, a mysterious train left for 2046 every once in a while. Everyone who went there had the same ... See full summary »
A lonely doctor who once occupied an unusual lakeside home begins exchanging love letters with its former resident, a frustrated architect. They must try to unravel the mystery behind their extraordinary romance before it's too late.
Two siblings begin to develop special talents after they find a mysterious box of toys. Soon the kids, their parents, and even their teacher are drawn into a strange new world and find a task ahead of them that is far more important than any of them could imagine!
This film follows the 'life' and times of the lead character, an android who is purchased as a household robot programmed to perform menial tasks. Within a few days the Martin family realizes that they don't have an ordinary droid as Andrew begins to experience emotions and creative thought. In a story that spans two centuries, Andrew learns the intricacies of humanity while trying to stop those who created him from destroying him. Written by
Despite the fact that this was filmed in the standard spherical format, "Filmed in Panavision" is listed in the end credits. See more »
When Andrew is walking through the park with Portia, his shirt is wide open. When they stop to talk, it is almost closed. When they walk again, it is open again. See more »
President Marjorie Bota:
I've always tried to make sense of things. There must be some reason I am as I am. As you can see, Madame Chairman, I am no longer immortal.
President Marjorie Bota:
You have arranged to die?
In a sense I have. I am growing old, my body is deteriorating, and like all of you, will eventually cease to function. As a robot, I could have lived forever. But I tell you all today, I would rather die a man, than live for all eternity a machine.
President Marjorie Bota:
Why do you want this?
To be acknowledged for who and what I am, no ...
[...] See more »
Owing to the fact that it is based on an Isaac Asimov story, `Bicentennial Man' turns out to be a more interesting and meaningful film than both its advertising campaign and its own opening section would indicate. The caveat for those seeking out a fun film for the entire family is that this movie, though initially sold as a warm cuddly comedy in the tradition of say `Mrs. Doubtfire,' actually deals with some very heavy and heady issues like sexuality, aging and dying, which may make it less-than-ideal viewing for young children.
The first section of the film is, by far, its weakest. In 2005, the wealthy Martin family receives delivery of a brand new servant android (Robin Williams) who, almost immediately, begins to display a remarkable range of human emotions and interests. Thus, we are set up for yet another in a long line of predictable tales (i.e. `Harry and the Hendersons,' `Stuart Little') in which a family comes to adopt a strange, not-quite-human creature, welcoming him in as one of their own. Indeed, in the film's early stages, there is no shortage of either bland humor or drippy sentimentality as Andrew, the android, ingratiates himself with all but one of the Martin household. The `wit' in the film consists, basically, of endless jokes about how Andrew takes all idioms at literal face value, a running gag that is, finally, as unoriginal as it is wearying.
Then, however, just as we are about to give up hope in it, the movie becomes more intriguing. Rather than staying within the context of the present life of this one family, the screenplay begins to move ahead in time, exploring Andrew's gradual growth toward total humanity, while the initial family grows up and eventually dies off. Actually, despite how one may feel about the film itself, one must admire its boldness and audacity, for it is not often that, in a film billed as a mass audience comedy, all the main characters pass on to their heavenly reward at one point or another but, then again, how many comedies span a two hundred year time period? `Bicentennial Man' obviously has more on its mind than mere fish-out-of-water buffoonery, as it becomes an often-elegiac reflection on the transience of life, the meaning of being human and the search for societal acceptance. The mood of the film is remarkably hushed and reflective at times, which again might make it slow going for the modern mass audience more conditioned to a faster pace and giddier tone, especially in a Robin Williams film (though, of late, his films have certainly been taking on a much more somber quality, vide `What Dreams may Come,' `Patch Adams' and `Jakob the Liar'). There are times when `Bicentennial Man' seems overly impressed with its own self-importance, yet one appreciates its refusal to settle for the easy path of cheap comedy and upbeat sentiments. There is, indeed, a real sadness to much of the film.
Special acknowledgement should be made of the superb art direction, set design, costume design, makeup and special effects that together give the film its understated and believable futuristic look. In addition, James Horner's melancholic symphonic score, though a bit lubricious at times, does create an atmosphere of contemplative seriousness that perfectly matches the tone and purpose of the film.
`Bicentennial Man' may not turn out to be what you are looking for when you first seek it out, but, if you approach it with an open mind and a certain degree of tolerance and indulgence, you may be pleasantly surprised and, perhaps, even rewarded.
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