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poster of A.I. Artificial Intelligence
Rating: 7.043/10 by 6133 users

A.I. Artificial Intelligence (2001)

David, a robotic boy—the first of his kind programmed to love—is adopted as a test case by a Cybertronics employee and his wife. Though he gradually becomes their child, a series of unexpected circumstances make this life impossible for David.

Directing:
  • Steven Spielberg
  • Jason Patnode
  • Ana Maria Quintana
  • Sergio Mimica-Gezzan
  • David H. Venghaus Jr.
  • Paul Prenderville
  • Lisa Brookes
Writing:
  • Steven Spielberg
  • Philip Keller
  • Brian Aldiss
  • Ian Watson
  • Stanley Kubrick
Stars:
Release Date: Fri, Jun 29, 2001

Rating: 7.043/10 by 6133 users

Alternative Title:
A.I. - US
A.I. Veštačka inteligencija - RS
Artificial Intelligence: AI - US
A.I. Izkustven intelekt - BG
에이 아이 - KR
Technití Noimosýni - GR
Iskusstvennyy razum - RU
Shtuchnyy rozum - UA
A.I.: Inteligência Artificial - BR
A. I. Inteligencia artificial - ES
A.I. – Umělá inteligence - CZ
A.I. Umělá inteligence - CZ
人工智能 - HK
人工智能(2001) - HK
에이.아이. - KR

Country:
United Kingdom
United States of America
Language:
English
Runtime: 02 hour 26 minutes
Budget: $100,000,000
Revenue: $235,926,552

Plot Keyword: android, prostitute, artificial intelligence (a.i.), prophecy, loss of loved one, extraterrestrial technology, fairy tale, dystopia, adoption, ice age, prosecution, gigolo, hologram, alien, robot, destiny, capture, doppelgänger, robot boy

Jude Law
Gigolo Joe
Frances O'Connor
Monica Swinton
Sam Robards
Henry Swinton
Jake Thomas
Martin Swinton
William Hurt
Prof. Hobby
Jack Angel
Teddy (voice)
Robin Williams
Dr. Know (voice)
Ben Kingsley
Specialist (voice)
Meryl Streep
Blue Mecha (voice)
Chris Rock
Comedian (voice)
Ken Leung
Syatyoo-Sama
Tom Gallop
Supernerd
April Grace
Female Colleague
Michael Mantell
Dr. Frazier at Cryogenic Institute
Brian Turk
Backstage Bull
Brendan Gleeson
Lord Johnson-Johnson
Christopher Dye
Flesh Fair Participant
Matt Malloy
Robot Repairman
Erik Bauersfeld
Gardener (Voice)
Diane Fletcher
Sentient Machine Security
Al Jourgensen
Flesh Fair Band Member
Paul Barker
Flesh Fair Band Member
Adam Grossman
Flesh Fair Band Member
Rena Owen
Ticket Taker
Laurence Mason
Tech Director
Ashley Scott
Gigolo Jane
Ty Coon
Flesh Fair Band Member
Duane Buford
Flesh Fair Band Member
Max Brody
Flesh Fair Band Member
Red King
Covert Information Retrieval
Claude Gilbert
Cybertronics - Room 93056
Kate Nei
Toe Bell Ringing
Laia Salla
Mr. Chan's Assistant
Jeanine Salla
Sentient Machine Therapist
Miguel Pérez
Robot Repairman
Eliza Coleman
General Circuita
Tim Rhoze
Laboratory Technician
Clara Bellar
FemMecha Nanny
Kelly McCool
Kate the Holographic Girl
Jason Sutter
Percussionist
Ken Palmer
Percussionist
Lily Knight
Voice in the Crowd (voice)
Daveigh Chase
Child Singer (scenes deleted)
Kathryn Morris
Teenage Honey
Michael Berresse
Stage Manager
Paula Malcomson
Patricia in Mirrored Room
John Prosky
Mr. Williamson, the Bellman

Peter McGinn

I bought this on DVD many years ago, convinced I had never seen it. I finally got around to watching it, and it wasn’t until I reached the robot demolition circus (words I bet I have never seen in the same sentence before) that I realized I had watched this movie before. That is a memorable sequence. In many respects I thought the movie was well made: the special effects, the deep thinking behind the plot, and the writing was mostly good. It almost felt like it was covering too much ground, and I felt there were a few lapses. I will mention only one, and try not to give anything away. There is a pivotal scene where John Hurt’s character is with the AI child David. It took a lot of effort to get David there, so what does the guy do/ he leaves David alone and unchaperoned. And the end of the movie turns on that. Why would he wander off like that except to serve the plot? Still, the film, mirroring and projecting the story of Pinocchio into the future, was quite an achievement. I liked it, but not as much as a lot of other Spielberg efforts.

Andre Gonzales

The movie was actually pretty good. The ending sucked to me though.

CinemaSerf

With their son "Martin" supposedly out for the count, "Henry" (Sam Robards) procures a solution for his wife "Monica" (Frances O'Connor) in the form of "David" (Haley Joel Osment). He is a state of the art android. Not robotic in function like previous models, but an adaptive model that can learn to love, to feel, to be... Initially very apprehensive, she gradually bonds with the curious and friendly young man just as readily as dad "Henry" starts not to. Then, re-enter "Martin" (Jake Thomas) who turns out to be a rather malevolent and jealous lad who, with his fellow human friends, contrives a scenario that results in "David" becoming abandoned with only his talking "Teddy" for company. Now "David" had learned of the famous "Blue Fairy" who could turn him into a real boy, so convinced that his mother would love him again, sets out to track it down at the end of the Earth. His adventures along the way are perilous, he meets some salvage hunters with an almost circus-like approach to recycling before alighting on "Gigolo Joe" (Jude Law). His name says it all, his job being to "pleasure" women who want something that bit special. The two share his quest as the latter is pursued by the authorities - but can "David" reach his holy grail? This is heavily based on the "Pinocchio" story and that gives it a solid, potent and dark bedrock for a story of wishing for the moon. Osment is super here as the vulnerable but determined and lost lad looking for a mother's love and affection. Law also reminds us why he was ever an A-lister with an almost Astaire-esque performance as the ostensible wastrel who has more substance to his character than we might expect. The last half hour takes it's time, that could do with being tightened up - but the whole gist of this story of being careful what you wish for is otherwise well balanced between the drama, the emotion, a bit of technology and some fun too. It takes a swipe at the temporary culture that has prevailed for generations and maybe just reminds us that if it seems to good to be true, then it almost certainly is. Looks great on a big screen and is Spielberg at his most sensitively imaginative.


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