A.I. Artificial Intelligence

The camera focuses on the helicopter amid the darkness. Slowly the helicopter fades from view as the camera stretches farther and farther away. A slow, meditative narration begins, explaining the plight of the lonely David and his quest to be accepted. Wow, what a brave, fantastic conclusion to a riveting story about humanity. But wait... wait a second...

The film keeps going.

Steven Spielberg, the most universally accepted filmmaker alive, made a common mistake: he didn't know when to quit. He was on top. His film was absolutely riveting. It was sharply scripted and amazingly directed. It had intelligence, emotional resonance, and it brought up some tough questions. However, once the screen faded to black at this critical instant nearly two hours in and proceded to continue, albeit in an entirely different tone, Spielberg violated a rule: he tried to do too much. The film changed from Kubrickian to Spielbergian in a blink of an eye. It went from bleak, dark, and thoughtful to sentimental as quick as a film possibly can.

I'm convinced that nobody can immitate the art of Kubrick like Spielberg can. The entire film is shot as if Kubrick himself were behind the lens. The angles, the lighting, and the cinematography are handled as if Kubrick were in fact the director. Of course, the film is Spielberg's, not Kubrick's. It's his name that sits on the back of the director's chair. However, the discussions between the two about how the story would be handled, shot, and scripted were extensive. Spielberg, no doubt, learned much from the director of 2001, A Clockwork Orange, and Dr. Strangelove. There's also no doubt that Kubrick learned much from the director of Schindler's List, Saving Private Ryan, and Jurassic Park.

I don't think we'll ever see such a collaboration of film minds again: the combination of Steven Spielberg and Stanley Kubrick, a drastically different pair, melds together in most of the story like I never thought it could. Spielberg's sensibility and Kubrick's dark visions combine to form a mood that is indescribable.

A.I. represents a remarkable step forward for Spielberg. By examing Kubrick's works and using the lengendary director's personally designed storyboards, Spielberg has possibly irreversible altered his style. It is, without question, his most daringly shot film. It's provocative work, by far surpassing what I expected Spielberg to do with the subject matter. I will forever be a happy man if Spielberg used A.I. as a model for how to create scene compositions. For most of the running time, his direction is absolutely impeneterable. The script, written by Spielberg himself for the first time since 1982's Poltergeist, is deft at what it tries to accomplish. It brings about questions of technological feasibility, human error, and the very nature of love. If Spielberg was content just asking the questions and leaving us to answer them, as Kubrick was known for doing, the film would have ended at the forementioned time. If he had decided to do as such, the film would, as a whole, be stronger.

One of Spielberg's strengths is his remarkable ability with actors. Jude Law is excellent as the pleasure mecha Gigalo Joe, a wispy man-whore of a robot whose purpose is to pleasure women. Frances O'Connor is excellent as David's mother. The acting scene stealer, however, is Haley Joel Osment. Osment carries the film like only an actor is his remarkable skills could. I've never seen a more mature, capable performance by a young actor. It's rare when you see performances this accomplish from actors of any age. Osment display's the entire spectrum of emotions with startling complexity. The scene where David's love chip is "turned on" is golden because of the sudden change in expression that takes place on Osment's face. His face goes from cooly robotic to sympathy-filled juvenile in an awe-inspiring instant. I can't imagine a better leading performance being turned in all year.

Technically, the movie is incredible. Spielberg has his usual workers under him, editor Michael Kahn and cinematographer Janusz Kaminski. Both do stellar work, definitely some of the best of the year. The special effects are also spectacular. A.I. is one of those rare films that have capably created futuristic scenes that actually look more real than not. The scenes of a spooky, submerged Manhattan and the death-ridden Flesh Fair are some of the best of the film. In addition, the most likable character in the film is entirely special effects created. Teddy is a Supertoy, an old and wise teddybear with undying loyalty to its owner. Teddy is a computer generated revelation, achieving much more affection with the audience than the annoying Jar Jar Binks in The Phantom Menace.

It's impossible to fully explain how complex and fulfilling Artificial Intelligence is before it reaches its point of doom. Like all Spielberg films it's a technical marvel. However, only repeat viewings will tell whether he has sufficiently tackled the questions that it has raised. A.I. is a remarkable film, one that is quite possibly Spielberg's most ambitious. If it wasn't for his critical miscalculation at the end, it would have been something to be remembered for a long, long time.

On a scale of 1 to 10 cases of orga vs. mecha : 8

The short story on which A.I. Artificial Intelligence is based can be found HERE.