In a future where a special police unit is able to arrest murderers before they commit their crimes, an officer from that unit is himself accused of a future murder.
After an encounter with U.F.O.s, a line worker feels undeniably drawn to an isolated area in the wilderness where something spectacular is about to happen.
Director:
Steven Spielberg
Stars:
Richard Dreyfuss,
François Truffaut,
Teri Garr
In the colorful future, a cab driver unwittingly becomes the central figure in the search for a legendary cosmic weapon to keep Evil and Mr Zorg at bay.
When a man goes for virtual vacation memories of the planet Mars, an unexpected and harrowing series of events forces him to go to the planet for real, or does he?
Director:
Paul Verhoeven
Stars:
Arnold Schwarzenegger,
Sharon Stone,
Michael Ironside
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 Withdrawn to the interior of the continents, the human race keeps advancing, reaching the point of creating realistic robots (called mechas) to serve them.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 <makzax@hotmail.com>
While this film was based on the Brian Aldiss short story "Supertoys Last All Summer Long," that short story has less influence on the movie than the famous poem by William Butler Yeats, "The Stolen Child." The text of the poem appears in the movie in two places, and certain stanzas take on literal meaning as well (e.g. "Till the moon has taken flight"). There are also many surprising similarities to the Philip K. Dick short story "Second Variety". See more »
Goofs
One of the boys gets out of the swimming pool twice in different shots. See more »
Quotes
Gigolo Joe:
They hate us, you know... The humans. They'll stop at nothing.
See more »
Crazy Credits
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 »
Steven Spielberg's latest movie A.I.: ARTIFICIAL INTELLIGENCE, which he took up at the encouragement of the late, great Stanley Kubrick, has caused widely divergent comments. And I can't help wondering if the most scathingly negative reviews of this movie aren't just an open desire to see Spielberg crash, as he had with "1941" and HOOK.
For my money, Spielberg has done it again with this futuristic science fiction drama, regardless of what the negative reviews say. Its story of a robot boy (Haley Joel Osment) who desires to be a real boy in a far future in which humans (Orgas) and machines (Mechas) exist side-by-side but not always in harmony is very much modeled on the Pinocchio story, though it is actually based on a 1969 short story by Brian Aldiss. It raises some interesting and sometimes unsettling moral dilemmas that few films of late have done. Can a parent love a child, even if that child is not real? What might happen if that child desired to be real? How will Man and Machine be able to co-exist?
Like all intelligent science fiction, such as Kubrick's own 2001: A SPACE ODYSSEY and Spielberg's own CLOSE ENCOUNTERS, A.I. forces us to ponder where we've been and where we might be going. It's an incredible combination of Kubrick's icy intellectual and clinical mind and Spielberg's emotional heart; and I think it works exceedingly well. But it forces the viewer to not leave their heart and brains at the door, which I think is why it is being so negatively received in this season of mindless summer movie fare. It may be too intelligent for its own good, and many don't have the 145 minutes of patience needed for the movie. I did, however; and I would call this an absolute masterpiece. Out of ten stars, give this one a 10.
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Steven Spielberg's latest movie A.I.: ARTIFICIAL INTELLIGENCE, which he took up at the encouragement of the late, great Stanley Kubrick, has caused widely divergent comments. And I can't help wondering if the most scathingly negative reviews of this movie aren't just an open desire to see Spielberg crash, as he had with "1941" and HOOK.
For my money, Spielberg has done it again with this futuristic science fiction drama, regardless of what the negative reviews say. Its story of a robot boy (Haley Joel Osment) who desires to be a real boy in a far future in which humans (Orgas) and machines (Mechas) exist side-by-side but not always in harmony is very much modeled on the Pinocchio story, though it is actually based on a 1969 short story by Brian Aldiss. It raises some interesting and sometimes unsettling moral dilemmas that few films of late have done. Can a parent love a child, even if that child is not real? What might happen if that child desired to be real? How will Man and Machine be able to co-exist?
Like all intelligent science fiction, such as Kubrick's own 2001: A SPACE ODYSSEY and Spielberg's own CLOSE ENCOUNTERS, A.I. forces us to ponder where we've been and where we might be going. It's an incredible combination of Kubrick's icy intellectual and clinical mind and Spielberg's emotional heart; and I think it works exceedingly well. But it forces the viewer to not leave their heart and brains at the door, which I think is why it is being so negatively received in this season of mindless summer movie fare. It may be too intelligent for its own good, and many don't have the 145 minutes of patience needed for the movie. I did, however; and I would call this an absolute masterpiece. Out of ten stars, give this one a 10.