One would think that a science fiction film produced and directed by Steven Spielberg (who also contributed to the screenplay) inspired by the vision of the late Stanley Kubrick would have to be a brilliant work of monumental significance. Think again.
This story was a passion for Kubrick, who always wanted to film it. Spielberg picked it up as homage to Kubrick and attempted to imbue it with Kubrickian nuances. While the film is clearly infused with the sci-fi spirit of 2001: A Space Odyssey, it has neither the dramatic power nor the philosophical depth of that classic. Instead, we have an insignificant and disjointed human interest story, full of sentimental pap about a boy who isn't even human.
To be sure, the visual effects are outstanding. With Spielberg at the helm, this was bound to be a given. Using the latest technology and a $90 Million budget, Spielberg cranks out another effects show that rivals his latest Jurassic Park episode (another dud of a screenplay with great visuals). However, the story never gets any traction and we are left hoping the characters would just shut up and get to the next computer generated image.
The first hour of the movie is boring and tedious as we see robot boy David (Haley Joel Osment) attempt to adapt to his new human family and vice versa. Then suddenly Spielberg tries to shake thing up by throwing David into the standard futuristic anarchical society, a backdrop long ago rendered hackneyed in this genre. Shifting into third gear, we are then taken on a sci-fi junket to old New York, now semi-submerged from the effects of global warming, which have caused the oceans to rise at least 200 feet to cover all but the highest skyscrapers (we cannot possibly have a sci-fi film lately without some political hyperbole lurking in the subtext). Then fourth gear and we go on a journey far into future where David comes face to face with advanced beings in his quest to become a real boy, just like Pinocchio.
Spielberg attempts to meld ET, Close Encounters of the Third Kind and 2001 A Space Odyssey, to create a mosaic of themes that does justice to none of them. The last segment is punctuated by the advanced beings driveling about how the human race is the one true link to the meaning of life. This is extremely ironic given the events of David's journey including vile children mocking him, parents who abandon him, a flesh fair and a futuristic red light district full of violence and debauchery.
The film is also full of annoyingly unbelievable depictions, such as a love robot (Jude Law) who is a sophisticated piece of technology able to reason and operate at a very high level, who has to crick his neck to turn on his mood music.
The acting is terrific, despite the vapid dialogue. Haley Joel Osment just keeps getting better and better. He presents just the right balance of robotic disconnection with his human counterparts and the sincere efforts of an emotional being attempting to emerge. Jude Law also gives another outstanding performance as Joe Gigolo, stealing just about every scene in which he appears.
This was supposed to be one of the all time blockbusters, but despite putting up decent numbers, it failed to even match its budget at the box office. For once, I have to agree with the masses that this film just failed to distinguish itself beyond the special effects. I rated it a 6/10. Mark it up as a bad day at the office for Steven Spielberg.
This story was a passion for Kubrick, who always wanted to film it. Spielberg picked it up as homage to Kubrick and attempted to imbue it with Kubrickian nuances. While the film is clearly infused with the sci-fi spirit of 2001: A Space Odyssey, it has neither the dramatic power nor the philosophical depth of that classic. Instead, we have an insignificant and disjointed human interest story, full of sentimental pap about a boy who isn't even human.
To be sure, the visual effects are outstanding. With Spielberg at the helm, this was bound to be a given. Using the latest technology and a $90 Million budget, Spielberg cranks out another effects show that rivals his latest Jurassic Park episode (another dud of a screenplay with great visuals). However, the story never gets any traction and we are left hoping the characters would just shut up and get to the next computer generated image.
The first hour of the movie is boring and tedious as we see robot boy David (Haley Joel Osment) attempt to adapt to his new human family and vice versa. Then suddenly Spielberg tries to shake thing up by throwing David into the standard futuristic anarchical society, a backdrop long ago rendered hackneyed in this genre. Shifting into third gear, we are then taken on a sci-fi junket to old New York, now semi-submerged from the effects of global warming, which have caused the oceans to rise at least 200 feet to cover all but the highest skyscrapers (we cannot possibly have a sci-fi film lately without some political hyperbole lurking in the subtext). Then fourth gear and we go on a journey far into future where David comes face to face with advanced beings in his quest to become a real boy, just like Pinocchio.
Spielberg attempts to meld ET, Close Encounters of the Third Kind and 2001 A Space Odyssey, to create a mosaic of themes that does justice to none of them. The last segment is punctuated by the advanced beings driveling about how the human race is the one true link to the meaning of life. This is extremely ironic given the events of David's journey including vile children mocking him, parents who abandon him, a flesh fair and a futuristic red light district full of violence and debauchery.
The film is also full of annoyingly unbelievable depictions, such as a love robot (Jude Law) who is a sophisticated piece of technology able to reason and operate at a very high level, who has to crick his neck to turn on his mood music.
The acting is terrific, despite the vapid dialogue. Haley Joel Osment just keeps getting better and better. He presents just the right balance of robotic disconnection with his human counterparts and the sincere efforts of an emotional being attempting to emerge. Jude Law also gives another outstanding performance as Joe Gigolo, stealing just about every scene in which he appears.
This was supposed to be one of the all time blockbusters, but despite putting up decent numbers, it failed to even match its budget at the box office. For once, I have to agree with the masses that this film just failed to distinguish itself beyond the special effects. I rated it a 6/10. Mark it up as a bad day at the office for Steven Spielberg.