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I, Robot (2004)

PG-13 | | Action, Mystery, Sci-Fi | 16 July 2004 (USA)
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In 2035, a technophobic cop investigates a crime that may have been perpetrated by a robot, which leads to a larger threat to humanity.

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Nominated for 1 Oscar. Another 1 win & 13 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Adrian Ricard ...
Granny (as Adrian L. Ricard)
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Detective
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Storyline

Set in a future Earth (2035 A.D.) where robots are common assistants and workers for their human owners, this is the story of "robotophobic" Chicago Police Detective Del Spooner's investigation into the murder of Dr. Alfred Lanning, who works at U.S. Robotics, in which a robot, Sonny , appears to be implicated, even though that would mean the robot had violated the Three Laws of Robotics, which is apparently impossible. It seems impossible because.. if robots can break those laws, there's nothing to stop them from taking over the world, as humans have grown to become completely dependent upon their robots. Or maybe... they already have? Aiding Spooner in his investigation is a psychologist, Dr. Susan Calvin, who specializes in the psyches of robots. Written by Austin4577@aol.com

Plot Summary | Plot Synopsis

Taglines:

What will you do with yours? See more »


Motion Picture Rating (MPAA)

Rated PG-13 for intense stylized action, and some brief partial nudity | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

Release Date:

16 July 2004 (USA)  »

Also Known As:

Hardwired  »

Filming Locations:

 »

Box Office

Budget:

$120,000,000 (estimated)

Opening Weekend:

$52,179,887 (USA) (16 July 2004)

Gross:

$144,795,350 (USA) (24 December 2004)
 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

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Color:

(Alphacine)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The movie originally started as a screenplay entitled "Hardwired", a classical-style murder mystery that read like a stage play, and was very much in the spirit of Isaac Asimov's "three laws" mysteries. When the original "Hardwired" script eventually reached Fox, after being developed at Disney with director Bryan Singer, new director Alex Proyas and writer Jeff Vintar opened up the story to fit a big-budget studio film. When Fox acquired the rights to Isaac Asimov's story collection, Vintar spent two years adapting Hardwired to serve as a tenth story in the Asimov canon, complete with Susan Calvin and the Three Laws of Robotics. Hillary Seitz worked at one point as script doctor. Writer Akiva Goldsman came on late in the process to tailor the script to Will Smith. See more »

Goofs

Detective Spooner draws a backup pistol from an ankle holster, but when he recovers his main weapon, he holsters the backup pistol in his main holster. See more »

Quotes

[first lines]
Detective Del Spooner: [singing along with Stevie Wonder's "Superstition"] Seven years of bad luck.
See more »

Crazy Credits

The end credits state that the movie was "Suggested by Isaac Asimov's Book". See more »

Connections

Referenced in Troldspejlet: Episode #33.11 (2005) See more »

Soundtracks

Rescue Me
Words and Music by Carl Smith and Raynard Miner
Performed by Fontella Bass
Courtesy of Geffen Records
Under license from Universal Music Enterprises
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

A clichéd cop thriller crossed with sci-fi but it is noisy, enjoyable fun - all a summer action film should be
23 August 2004 | by (United Kingdom) – See all my reviews

It is the year 2035 and the world has forgotten the lessons we learnt in the 20th Century from films like Bladerunner and Terminator. Robots are the new must have accessory, carrying out menial tasks for households and boosting profits for businesses that have workforces not requiring payment. While this is now the norm, Officer Del Spooner refuses to move with the times and, due to an incident in his past refuses to accept the robots as anything approaching human. When an old friend, Dr Lanning – head of the robotics company, is found dead everyone suspects suicide but Spooner suspects a robot that flees the crime scene. Despite the robotics company lawyering up, Spooner continues his investigations and, several more malfunctions later, he begins to uncover a much bigger problem with the robots.

When the film opens with a flashback scene that cuts to a bitter, old-fashioned cop who dresses like Shaft and don't take no rubbish from his weary captain I immediately started to worry that this would simply be a clichéd cop thriller in fancy clothes and, in some ways, that is what it was. But it is also good fun and, along with Spiderman 2, stands out as one of the best of this years generally disappointing crop of blockbusters. The plot is interesting enough to keep the film going and, although it goes just where you will expect it to if you've seen Terminator (or had any involvement in popular culture) it builds gradually with an intriguing investigation leading to a very impressive climax. The set pieces are well directed and are mixed well with the drama and the film delivers just what I had come expecting – fun, excitement, effects and an involving story.

Of course this is not to ignore the fact that the film has its weak points. The worn 'tough cop' clichés are heavy on the ground and show a script that hasn't put as much effort into its characters as it really should have – this is also seen in Calvin, who's background with Lanning is hinted at but never followed though. The film also hints at a very intelligent story around the robots but again it never totally follows through in as much detail as it could have done. The structure of the society is not clear – if robots have taken many jobs how can everyone afford a robot? Spooner lives in a poor, overcrowded area with graffiti on the walls but yet everyone owns a robot. While I accept that the film couldn't go into the whole universe behind the scenario, it could have shown us an underclass just as easily as it showed us what I suspect were the middle classes. Likewise the final shot of the film implies that there is more to the robot-ethics of the story but mostly this is put to the side in favour of running and shooting. But these are minor complaints when you accept that this is not art – it is a blockbuster and, in this way, it succeeds and is an enjoyable film.

Matching the lazily written character that he is given, Smith plays it like Shaft. He eats pie and takes lots of sugar (but yet has a superb body – can't wait for that part of the future!), makes wisecracks and sneers a lot.

He tries to bring something individual out in Spooner but mostly he settles for playing along with the clichés and delivers a familiar performance but one that fits well with the aims of the film. Moynnahan is a bit dry but actually works better than the usual screaming love interest that we get served with – thankfully the film resists the temptation to impose a romance on us. Tudyk looks the part and does a very good 'HAL' voice but he is constrained by his character and can only work within that – but he works it well enough. Greenwood is a good part, Cromwell's familiarity helps us care for a character who has died before the film even starts, McBride is the gruff, weary captain but basically the film is Smith's and his Shaft is quite fun. Outside of the real things, the effects are great – they look real and match the design of the future which is at the other end of the scale from the usual grim future that we all suspect will be nearer the truth! Alex Proyas may not be a great master of the narrative but he does OK here while also indulging his first love – the visual effects and style.

Overall this is an enjoyable summer blockbuster and stands out in the crowd of average sequels and trashy attempts at blockbusters that have crawled in and out of our cinemas this year. Yes, it's full of the usual tough cop genre clichés and the sci-fi element doesn't get as interesting or morally complex as it should have done but this is an action movie and I found it to do all the things I needed to do to entertain me – set pieces, interesting story, fun, effects that are actually special and a film that builds to a satisfying (if overblown) conclusion. In the cold light of day it is an imperfect film but it is easily one of the better blockbusters of 2004.


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