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 Withdrawn to the interior of the continents, the human race keeps advancing, reaching the point of creating realistic robots (called mechas) to serve them.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>
Includes many of the trademarks of Stanley Kubrick. Among these are the narration at the beginning; portrayal of dehumanization and the dark side of human nature; the tracking shots down the length of tall, parallel walls, and "The Glare", with David's head tilted and eyes looking upwards; the scene in the bathroom; the three-way conflict between David, Monica and Martin; an obsessed hero; imaginary worlds; a journey towards freedom and knowledge; the use of classical music in Richard Strauss' "Der Rosenkavalier". Perhaps the most direct homage to Kubrick's work is when David is stuffing spinach into his mouth in an attempt to compete with Martin, and Henry yells "stop Dave, please stop!"; the dialogue is taken almost literally from the final scene between HAL and David Bowman in Kubrick's 2001: A Space Odyssey (1968). See more »
One of the boys gets out of the swimming pool twice in different shots. 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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In theatrical previews, on one of the final credit frames, the Hebrew word "Chochmoh", meaning wisdom or knowledge, is written in small red letters. See more »
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 »
Artificial intelligence can be clearly divided in tow parts, quite different in mood and theme. The first hour imitates Staley Kubrick, who had worked on the project before his death. It is as if Spielberg is playing with Kubrick's fans: he films that part of the film exactly like the dead master would do it, reproducing very well that very disturbing mood from "full metal Jacket"'s first half, "A Clockwork Orange" and "Paths of Glory".
It feels like a game. Spielberg knows that people could not this film and not ask: "I wonder how would Kubrick have done it", or start comparing the two to Spielberg's disadvantage. So he answers the question showing which film Kubrick would do in the 1st hour (the exact moment when the mom leaves the boy-robot), which proves his control over the medium (something no one ever questioned) and then moving on to HIS film, with the human content and theme he thinks he can provide (something you can easily question his ability).
Now he has to prove he can do a better job. So he extends and overfilms to the point of exhaustion his "vision", putting as much visual and emotion you could expect. Overall, it felt kind of boring and empty.
So it's like "I gave you Kubrick and more! By the way, wasn't my vision more interesting?". No, it wasn't, Steve. You proved you are a talented director enough to bring to life a dead cinema master in a way we can almost believe he directed from the dead. But you proved, once more, that as an artist you can only be obvious and dull.
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