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 Withdrawn to the interior of the continents, the human race keeps advancing, reaching the point of creating realistic robots (called mechas) to serve them.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 <email@example.com>
At the end, it is stated that a person can only be resurrected if the Mechas have access to a person's DNA. Teddy gives David the lock of Monica's hair David had cut. However, cut hair has no DNA, and the chances that the lock would have some non-degraded skin cells of Monica's and only Monica's is extremely remote. 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 »
It is fitting that A.I., Steven Spielberg's monument on film to Stanley Kubrick, is a shoe-in for Best Picture in 2001. A.I. is cinematically beautiful, and tells a wrenching emotional story of a child's quest for maternal love.
In A.I., Spielberg masterfully adopts Kubrick's hard, bare-essentials style of direction, letting the photography tell the story, rather than the dialogue. This style allowed Kubrick to develop an enormous scope of ideas, stories and emotions in his movies. But it often left casual movie goers behind. He had difficulty finding the right treatment for A.I. so he handed the project to Spielberg before Kubrick's death last year.
Spielberg textures A.I. with obvious dollops of his own soft-as-whipped-cream touch. It is Spielberg's great skill that blends the two styles together with mesmerizing results. This blend allows the emotional story of a young robotic boy to come to life, and Kubrick fans will be able to enjoy one last film made by the master -- with the respectful help of another great artist.
The Kubrickian style demands the very best from actors, who must appear unapologetically real, and must, in long sequences with no dialogue, convey strong feelings and emotions. The A.I cast, especially lead actor Haley Joel Osment, meet every measure of the demands. Despite his youth, Osment will surely receive a nomination for Best Actor.
A.I. will rank high among the best movies ever made, but viewers should come prepared for an intense emotional and intellectual work-out. If you want to take in a quick flick to escape life for a couple of hours, this is not your movie. If you want to explore the cinematic depth of a master artist like Spielberg, A.I. will take you places you've never been before.
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