SPOILERS
AI has been much anticipated by movie goers to see what Spielberg would do with Kubrick's 'last' film - would it be a fitting tribute to the acknowledged master or would it be a cheap imitation?
It was always going to be difficult to satisfy Kubrick fans who probably regard Spielberg as being close to the anti-christ but the movie itself has turned out to be an appropriate closure to Kubrick's career.
AI is a film made up of three distinct parts (with a few themes running across various sections.
Osment plays a boy robot, David who is given to the father of a family who works for the creators of the simalcrun, Cybertronics, who for over 100 years have provided robots for use as servants and companions.
What makes David different is that he has been programmed with the ability to truly love, rather than just imitate the sensation.
The first act is David being integrated into the new family and looking for acceptance - despite descending into sappiness on a few occasions it is well done. The Kubrick/Spielberg influences are evident throughout - the almost in some respects clinical set design combined with a level of subdued and well placed lighting that adds a much needed dimension to the visuals.
The second act enters the Pinocchio theme - David searches for the mystical 'Blue Fairy' - the only being that can make David into a true boy and therefore be truly loved by his new mother.
He is accompanied by another Cybertronics construct, Joe Gigilo, who as the name suggests, is a pleasure unit with a sassy step and quick wit. Jude Law is very good in the role, but you must wonder why the character was included at all other than to guide David to the next plot point.
The third act (which I won't give too much away about) is simultaneously confusing, surreal and mesmerising. The annoying voice over pointing out the bleeding obvious every 20 seconds is an unfortunate inclusion.
It is also very unfortunate that the film limps to such a boring conclusion after the previous 2 hours of compelling viewing. If the sacchrine wasn't turned up in the opening act it is allowed to flow freely in the final one.
John Williams again provides the score to a Spielberg movie - and it was a surprise to see his name on the credits list. His score is subdued, quietly melodic and very apt.
On the acting front, Osment is quite good as the artificial boy David - his performance is a bit uneven in places but at all times you are convinced that he is just a little boy looking for the love of a parent. Frances O'Connor is good as the mother hesitant about showing affection for this creation but slowly coming to love him. Sam Robards is barely seen as the company Dad who is initially enthusiastic about David but suddenly and bewilderingly turns against him.
The film is slow, but not disappointingly so, it isn't a film a regular Spielberg buff is going to get a lot out of. Kubrick fans might wince at the over-sentementality of it all but should hopefully be sated by the incredible special effects, which are seamless and flawless.
A film that could have done with a bit more trimming and some tightening up of its ending 20 minutes.
7 out of 10.
AI has been much anticipated by movie goers to see what Spielberg would do with Kubrick's 'last' film - would it be a fitting tribute to the acknowledged master or would it be a cheap imitation?
It was always going to be difficult to satisfy Kubrick fans who probably regard Spielberg as being close to the anti-christ but the movie itself has turned out to be an appropriate closure to Kubrick's career.
AI is a film made up of three distinct parts (with a few themes running across various sections.
Osment plays a boy robot, David who is given to the father of a family who works for the creators of the simalcrun, Cybertronics, who for over 100 years have provided robots for use as servants and companions.
What makes David different is that he has been programmed with the ability to truly love, rather than just imitate the sensation.
The first act is David being integrated into the new family and looking for acceptance - despite descending into sappiness on a few occasions it is well done. The Kubrick/Spielberg influences are evident throughout - the almost in some respects clinical set design combined with a level of subdued and well placed lighting that adds a much needed dimension to the visuals.
The second act enters the Pinocchio theme - David searches for the mystical 'Blue Fairy' - the only being that can make David into a true boy and therefore be truly loved by his new mother.
He is accompanied by another Cybertronics construct, Joe Gigilo, who as the name suggests, is a pleasure unit with a sassy step and quick wit. Jude Law is very good in the role, but you must wonder why the character was included at all other than to guide David to the next plot point.
The third act (which I won't give too much away about) is simultaneously confusing, surreal and mesmerising. The annoying voice over pointing out the bleeding obvious every 20 seconds is an unfortunate inclusion.
It is also very unfortunate that the film limps to such a boring conclusion after the previous 2 hours of compelling viewing. If the sacchrine wasn't turned up in the opening act it is allowed to flow freely in the final one.
John Williams again provides the score to a Spielberg movie - and it was a surprise to see his name on the credits list. His score is subdued, quietly melodic and very apt.
On the acting front, Osment is quite good as the artificial boy David - his performance is a bit uneven in places but at all times you are convinced that he is just a little boy looking for the love of a parent. Frances O'Connor is good as the mother hesitant about showing affection for this creation but slowly coming to love him. Sam Robards is barely seen as the company Dad who is initially enthusiastic about David but suddenly and bewilderingly turns against him.
The film is slow, but not disappointingly so, it isn't a film a regular Spielberg buff is going to get a lot out of. Kubrick fans might wince at the over-sentementality of it all but should hopefully be sated by the incredible special effects, which are seamless and flawless.
A film that could have done with a bit more trimming and some tightening up of its ending 20 minutes.
7 out of 10.