rdfs:comment
| - What do you get when you cross a Steven Spielberg movie with a Stanley Kubrick movie? You get A.I.: Artificial Intelligence. In the 22nd century, global disasters have drastically reduced the human population. In an effort to maintain human society, humanlike androids called mechas are developed and programmed to simulate humanlike behavior and emotions. Among them is an advanced prototype named David (Haley Joel Osment), a child robot with the ability to virtually feel love, rather than simulate the appropriate behaviors. The Cybertronics company tests out David on two of its workers, Henry and Monica Swinton, whose son Martin has been placed under suspended animation until a cure can be found for his rare disease. Though Monica is initially afraid of this artificial child, she eventually
|
abstract
| - What do you get when you cross a Steven Spielberg movie with a Stanley Kubrick movie? You get A.I.: Artificial Intelligence. In the 22nd century, global disasters have drastically reduced the human population. In an effort to maintain human society, humanlike androids called mechas are developed and programmed to simulate humanlike behavior and emotions. Among them is an advanced prototype named David (Haley Joel Osment), a child robot with the ability to virtually feel love, rather than simulate the appropriate behaviors. The Cybertronics company tests out David on two of its workers, Henry and Monica Swinton, whose son Martin has been placed under suspended animation until a cure can be found for his rare disease. Though Monica is initially afraid of this artificial child, she eventually warms to him after activating his imprinting protocol, which irreversibly causes him to feel love for his new "mother". However, disaster strikes after Martin is cured, leaving David cast off and alone with his mechanical teddy bear companion Teddy, searching for his place in the world, ultimately embarking on a journey to find his own humanity alongside Gigolo Joe (Jude Law), a "love mecha" also on the run after one of his clients is killed. Released in 2001, this adaptation of the Brian Aldiss short story "Supertoys Last All Summer Long" had started development under Kubrick in the early 1970s, under a long series of writers hired by Kubrick himself to try to bring his vision to life, but had languished in Development Hell for years due to the limitations of CGI, which Kubrick believed would be necessary to bring the childlike robot hero to life. Finally, in 1995 Kubrick handed over the project to Spielberg, but it continued to languish until Kubrick's death in 1999.
|