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A.I. Artificial Intelligence (2001)

Artificial Intelligence: AI (original title)
PG-13 | | Adventure, Drama, Sci-Fi | 29 June 2001 (USA)
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A highly advanced robotic boy longs to become "real" so that he can regain the love of his human mother.

Director:

Steven Spielberg

Writers:

Brian Aldiss (short story "Supertoys Last All Summer Long"), Ian Watson (screen story) | 1 more credit »
Popularity
1,102 ( 347)
Nominated for 2 Oscars. Another 17 wins & 68 nominations. See more awards »

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Cast

Cast overview, first billed only:
Haley Joel Osment ... David
Frances O'Connor ... Monica Swinton
Sam Robards ... Henry Swinton
Jake Thomas ... Martin Swinton
Jude Law ... Gigolo Joe
William Hurt ... Prof. Hobby
Ken Leung ... Syatyoo-Sama
Clark Gregg ... Supernerd
Kevin Sussman ... Supernerd
Tom Gallop ... Supernerd
Eugene Osment ... Supernerd
April Grace ... Female Colleague
Matt Winston ... Executive
Sabrina Grdevich ... Sheila
Theo Greenly Theo Greenly ... Todd
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Storyline

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 Withdrawn to the interior of the continents, the human race keeps advancing, reaching the point of creating realistic robots (called mechas) to serve them.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>

Plot Summary | Plot Synopsis

Taglines:

Do not speak the seven-word activation code unless you mean it. See more »


Motion Picture Rating (MPAA)

Rated PG-13 for some sexual content and violent images | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook

Country:

USA | UK

Language:

English

Release Date:

29 June 2001 (USA) See more »

Also Known As:

A.I.: Artificial Intelligence See more »

Filming Locations:

Guerneville, California, USA See more »

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Box Office

Budget:

$100,000,000 (estimated)

Opening Weekend USA:

$29,352,630, 1 July 2001, Wide Release

Gross USA:

$78,616,689, 23 September 2001

Cumulative Worldwide Gross:

$235,927,000
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

DTS-ES | Dolby Digital EX | SDDS

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Stanley Kubrick worked on the project for two decades before his death, but along the way, he decided to ask Steven Spielberg to direct, saying it was "closer to his sensibilities". The two collaborated for several years, resulting in Kubrick giving Spielberg a complete story treatment and lots of conceptual art for the movie prior to his death, which Spielberg used to write his own scenario. Contrary to popular belief, Spielberg claims that he introduced many of the darker elements into the story, while Kubrick's main contribution consisted mostly of its "sweeter" parts. In a 2002 interview with movie critic Joe Leydon, Spielberg indicated that the middle part of the movie, including the Flesh Fair, was his idea, whereas the first forty minutes, the teddy bear, and the last twenty minutes were taken straight from Kubrick's story. Ian Watson, who wrote Kubrick's original treatment, confirmed that even the much-criticized ending, assumed by many to be a typical Spielberg addition, was "exactly what (he) wrote for Stanley, and exactly what he wanted, filmed faithfully by Spielberg." See more »

Goofs

When Specialist says "anemones" towards the end of the film, he pronounces it "aneNoMes". See more »

Quotes

[first lines]
Narrator: [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... ...
See more »

Crazy Credits

For Stanley Kubrick. See more »

Alternate Versions

For the U.S. theatrical release, the Warner Bros. logo appeared before the Dreamworks logo at the beginning of the film, and the poster credits said, "Warner Bros. and Dreamworks Pictures present." Since the U.S. version's home video/DVD rights are owned by Dreamworks, the Dreamworks logo at the beginning of the movie appears before the Warner Bros. logo, and the back of the box's cover art says, "Dreamworks Pictures and Warner Bros. present." See more »

Connections

References Dames (1934) See more »

Soundtracks

I Only Have Eyes For You
Written by Harry Warren and Al Dubin
Performed by Dick Powell
See more »

Frequently Asked Questions

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User Reviews

Did they really think this was love?
19 March 2004 | by BlancheDeLaForceSee all my reviews

There are many things that went wrong with this movie, but even if there weren't, it would still be a failure, because something about the very premise it is based upon does not work: the story of a `robot' that is programmed to feel love. To see what I mean, it is enough to compare this movie with a vastly superior one: Blade Runner. In that movie, replicants are not programmed to feel love, pity, sorrow or rage about injustice, but they develop these feelings spontaneously and mysteriously. As a matter of fact, these human feelings render the replicants not only unusable but dangerous, and hence, they have to be eliminated. Blade Runner is about what makes humans human: if androids can have feelings that are real and not planned, if they have memories, if they can appreciate beauty, if they have a will of their own, aren't they human? Isn't destroying them murder? In A.I., there is never a question of David being human: he is nothing but a machine that smartly apes a real loving boy. The boy robot has a chip or whatever it is that programs him to feel `love,' being such `love,' if correctly interpreted (something the movie does not do), not real love, but an unhealthy fixation. A real boy who developed such an obsession with his own mother would be a Norman Bates in the making. Unlike Blade Runner, where we empathize naturally with the replicants, it is impossible to feel anything but irritation, at best, and horror, at worst, for David, and, indeed, it is easier to pity the bad mother: who wouldn't be unnerved by such unblinking adoration? (and unblinking it is; Spielberg erased Osment's blinking, apparently not realizing that a blinking robot would have been more lifelike and therefore, more useful to its purpose, to replace a real boy. Apparently, it was Osment who suggested the unblinking thing. Now, this is what happens when you listen to child actors instead of your own judgment). That's not the way the movie thinks, however. It assumes that this pre-packaged, superficial feeling is the real deal, which is rather disturbing.

As a matter of fact, just like David, A.I. is a movie that wants to be what it is not. It wants to be profound and philosophical (we know that because from time to time some character, or the voiceover narration, says something sententious). Spielberg's unquestioning admiration for Disney has already landed him in trouble in some of his other movies, but never as devastatingly as in this one. Any hope to take the movie seriously is dashed by cartoonish stuff like the Dr. Know or the Blue Fairy, and by the sickening sentimentality that clogs the whole movie and reaches its peak in the completely stupid ending. I spent the last half-hour or so gaping at the screen, and I mean that literally. I felt (and probably looked) like the audience watching the Hitler musical in the movie `The Producers.' I was so nonplussed at the nerve of someone ending a movie in such a ridiculous fashion, I could not even feel rightfully angry as I should.

All things spoken, I did like Teddy. I wish I had one of these. But then, of course, when the only thing in a movie that keeps you minimally interested is a talking teddy bear, the movie in question is really in deep trouble.


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