In 1839, the revolt of Mende captives aboard a Spanish owned ship causes a major controversy in the United States when the ship is captured off the coast of Long Island. The courts must decide whether the Mende are slaves or legally free.
In the not-so-far future the polar ice caps have melted and the resulting rise of the ocean waters has drowned all the coastal cities of the world. Withdrawn to the interior of the continents, the human race keeps advancing, reaching the point of creating realistic robots (called mechas) to serve them. One of the mecha-producing companies builds David, an artificial kid which is the first to have real feelings, especially a never-ending love for his "mother", Monica. Monica is the woman who adopted him as a substitute for her real son, who remains in cryo-stasis, stricken by an incurable disease. David is living happily with Monica and her husband, but when their real son returns home after a cure is discovered, his life changes dramatically. Written by
Chris Makrozahopoulos <firstname.lastname@example.org>
In order to keep the film's PG-13 rating, a building resembling a penis was digitally removed from the "Rouge City" set. See more »
The William Butler Yeats poem is misquoted on the door in Dr. Hobby's office. Dr. Know reads it "Come away, O human child! To the waters and the wild..." This is the correct line, and also what Gigolo Joe says as he reads it. However, the lines on the door read "To the waters of the wild". See more »
[narrating, with ocean waves crashing together]
Those were the years after the ice caps had melted... because of the greenhouse gases, and the oceans had risen drown so many cities... along all the shorelines of the world. Amsterdam, Venice, New York - Forever lost. Millions of people were displaced. Climates became chaotic. Hundreds of millions of people starved in poorer countries. Elsewhere a high degree of prosperity survived... when most governments in the developed world... ...
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Sentient Machine Therapist ... JEANINE SALLA Assistant to Mr. Chan ... LAIA SALLA Toe-Bell Ringer ... KATE NEI Cybertronics - Room 93056 ... CLAUDE GILBERT Sentient Machine Security ... DIANE FLETCHER Covert Information Retrieval ... RED KING These are characters from the AI alternate-reality game that was connected to the release of the film, and was played over the Internet. Several of the TV and cinema trailers for AI contained clues for game players, including the name Jeanine Salla listed in the credits at the end of the first trailer. This was the way into the game. The room number given in Claude Gilbert's credit is a further clue to game players. See more »
I loved this film. It isn't one of the greatest films ever made, but it's a personal favorite of mine. I cried at the two sad points, I laughed at the mannerisms of Gigalo Joe and Teddy, the super-toy, my heart pumped faster at the action, suspense, and horror, but overall, I really enjoyed the film on a whole. I didn't find an ounce of it boring at all. It's practically the same as observing an extraordinary life and extraordinary tale of a boy who just wants his mommy. But the boy is not a boy, and rather a robot. But the way he acts can pass for a human any day.
The look of the film was dazzling and amazing. From the facilities in the underwater Manhatten, to the curvy, sensual architecture of Rouge City. I really felt as if I were really going along for a great ride and once I stepped out of the theater, I wanted more.
The film is from Steven Spielberg based on Brian Aldiss' short story, "Super-toys Last All Summer Long" which was doctored up by Stanley Kubrick. The film is a tribute to the legendary filmaker, but it is not his film, but rather Spielberg's. Sure it sometimes tries to mimic his styles, but that's practically the same as a filmmaker paying homage to a great. It's more or less the same as somebody making his adaptation of a novel or maybe graphic novel, since Kubrick supplied some of his artwork through designs. The story is Kubrick's, but the film is Spielberg's.
Although it may seem ridiculous to some at some points, it's a future, not THE future, but a rendition of it and somethings may happen in THIS future that may seem unrealistic. The film has a great score, but it just doesn't stand out like some of John Williams's other scores. The end could be considered a homage to Spielberg's "Close Encounters Of the Third Kind" or it could be something different, something more along the lines of the film's title, Artificial Intelligence, but only a far more advanced form of it.
The acting in this film is great along with the emotions, visions, humor, and fright. I found this film to be extraordinarily superb, but whether you think it's as good, is up to you.
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