A.I. Artificial Intelligence Blu-ray delivers stunning video and great audio in this excellent Blu-ray release
In the distant future, after the polar icecaps have melted and major flooding has devastated most major cities, technology has advanced to the point where people depend on robots with highly sophisticated artificial intelligence; including companion robots which replace friends, lovers or children. David is an an advanced prototype companion robot programmed to be the loving son of Henry and Monica Swinton, whose own son, Martin, lies comatose in a nearby hospital. Programmed to show unconditional love, his human family isn't prepared for the consequences. Unable to adjust to a world that has no use for his ability to love, David embarks on a spectacular quest to discover a way to become a real boy.
Boy oh boy. A.I. Artificial Intelligence is one of those wonderfully tangled and deeply-rooted pictures that's ripe for a full-length book
examination of not only its history as a film project but, far more important, its viability as an absorbing and thorough look at humanity and what it
means to be human, the picture delving into some heavy psychological and philosophical overtones that succinctly run the gamut of human
emotions, ultimately laying its cards on
the
table and identifying what it is the film believes that makes a human being, or an entity striving to become a human being, human: the ability to
believe. That ability to believe in something, the film posits, surpasses even
collections
of electronic
impulses, the ability to walk and talk, the ability to think, the ability to reason, and the ability to demonstrate creativity. A.I. Artificial
Intelligence is a sometimes moving and occasionally exciting picture that works almost exclusively through its
exploration of ideas of great moral, emotional, spiritual, and philosophical import morphed into a story and presented on a screen. The characters
are
secondary to a plot that's constructed around a journey towards discovery, one robotic child's endeavor to surpass the limitations of even its
advanced
circuitry, programming, and artificial flesh in search of that one final ingredient that will make it wholly human. What that missing element may or
may not be is secondary to the boy's drive to find it. That's what sets A.I. apart from the crowd; the film looks at the soul from a different
direction, positing that it's not necessarily having a soul but instead harboring the desire to find one that truly makes something
human, no matter how it may be constructed or where it came from.
Reflections on humanity.
In the future, the world has been ravaged by the consequences of global warming. The polar ice caps have melted and destroyed coastal cities all
over the world. The population has dwindled, and pregnancy has become a privilege, not a right; the government has imposed licenses for having
children. With the rise of the waters came a rise in the demand for artificial life, robots that could work tirelessly yet consume few of the remaning
precious resources. In fact, science is on the verge of creating a robot so advanced that it can give and receive love as would a child dedicated to its
own
biological mother and father, a wondrous breakthrough in an era when bearing children is more difficult than ever before. When the parents of a
sickly child surviving in stasis agree to adopt one of these new robotic miracles of science
dubbed "David" (Haley Joel Osment, Secondhand Lions), they welcome it into their home and hearts, but
with their own prejudices and reservations. Father Henry (Sam Robards) and mother Monica (Frances O'Connor) ultimately make David their own,
but when their sickly biological son Martin (Jake Thomas) is miraculously cured and able to return home, a sibling rivalry ensues that has dire
consequences for the entire family. Ultimately, the mechanical David is discarded and left to fend for itself, seeking only to become human in hopes
that its imprinted mother will take it back and once agin love it and allow it to love her, just as it's been programmed to do.
A.I. Artificial Intelligence is a disturbingly creepy and downright frightening, at times, look at what happens to humanity when humanity
removes humanity from part of its own equation. At least it begins that way. A.I. take a turn towards the oddball surreal in a second act
-- the
film's only real weak point -- that plays as a center entity designed, it seems, without thematic story building in mind and existing solely to bridge
the gap between the first and third acts, the former introducing the
concept of the removal of humanity from the equation, the third the effort to reintroduce it, and from a being that doesn't have it and never
possessed
it to begin with. What a beautiful conundrum that is. Still, A.I. Artificial Intelligence works best in its first act; whether it's that it never
recovers from a completely out-of-place second act or that there's just more of an opportunity for a deep philosophical study by the material as it is
represented in the first act is up for debate, but it's that question of artificially recreating humanity and the well-meaning but, it would seem,
misplaced
notion that both the natural and synthetic can co-exist by trying to make one into the other that's the real highlight of Director Steven Spielberg's
(Minority Report) thought-provoking picture. The effort to build emotion
into an emotionless being and expect emotional people to accept an artificially emotional robot as a real-feeling entity presents quite the human
paradox: what is love, and what is it that loves, both on the giving and receiving end? Certainly, man can love inanimate objects or even living
beings that don't
possess souls as man understands that concept, but even that form of love differs from the ultimate definition of love between a man and wife, a
father and son, a mother and daughter, and the like. But when it comes to man giving love to something artificial, he understands it to be a
one-way street; what happens when he expects to receive love in return from a "life" where life does not exist, only the artificial semblance of life
given to it by other men who neither know nor love the people the inanimate object will ultimately attempt to artificially love? It seems as if the
real lesson here is that real familial love is not something that can be welded together in a machine shop or downloaded onto a hard drive, no matter
how advanced the programming may be.
Then there is the film's other story, the other side of the coin, David's quest to become a human boy. What drives David to conclude that his lack of
humanity is his one true fault? Is it his experiences in life, the culmination of his own personal journey towards becoming an evolved sentient
being, or is it simply his programming? David seems to lack the understanding necessary to realize that even the limits of biology cannot be
overcome by even the very science that created him. David cannot understand the differences -- as drastic or as subtle as they may be -- between
being aware that's he's not human and accepting his limitations as an artificial life form. His programming that commands him to love and
be loved is so
all-encompassing in his existence that when he hears the story of Pinocchio -- the wooden doll that became a real boy -- his circuitry cannot
recognize the difference between reality and fantasy in his quest to satisfy the parameters of his programming, as evidenced by his belief in the
physical
embodiment of a fictional fairy
tale character and its ability to turn him into a real human being. It's
interesting to compare and contrast two of fiction's most famous robots/androids -- whichever term best fits them -- A.I. Artificial
Intelligence's
David and Star Trek's Data. Data's programming was constructed around the deliberate absence of emotion; he cannot love, nor can he feel
whatever love others may bestow upon him. He strives to be more human but innately understands that he can only strive and never achieve. His
goal is to become as close to human as possible while still accepting his natural limits as an android. David, on the other hand, was built only with
emotion in mind. Constructed to love and be loved, David's quest to become human is only an extension of his programming, a
subroutine that, rightly or wrongly, put two and two together and led him to believe that only becoming human could fulfill his created purpose.
Unlike Data, David
does not want to become more human or completely human to better himself; he does so only out of an artificial sense of duty, a false knee-jerk
reaction emotion that took hold of him when real human emotion and his own programmed understanding of that same emotion both failed him.
David's love is only imprinted upon him; it's a failed digital recreation of the most basic yet certainly most complex of all human emotions, one that is
felt, learned, and accepted only through the passage of time and the processing of other emotions both similar to and varying from it that all come
together to
create a unique human understanding that's different for every individual and not simply forced upon them with no prior experiences or emotions on
which to build them on and compare them to.
Looked at from a more generic technical perspective, A.I. Artificial Intelligence is a success, but it's not up to the quality the story
commands. The checkered history of the project is well-documented; based on a story by Brian Aldiss entitled Super-Toys Last All Summer
Long, the
filmed adaptation was relegated to the back-burner for many years with Director Stanley Kubrick's (2001: A Space Odyssey) name attached to it. Still, the legendary
director worked closely and tirelessly on the picture long before it went into production, but seeing that the project hovered in limbo for more than
two
decades, visionary filmmaker Steven Spielberg took the reigns after Kubrick's death. The film was finally put into production for a 2001 release at a
time when computer-aided visuals were advanced to the point that they could carry the film's necessary
effects-heavy elements. Perhaps more crucial than any other factor was the emergence of young Actor Haley Joel Osment who, hot off of his
success
in The Sixth Sense, was seen as a viable human actor not only able to play
the film's lead part, but to practically become the emotionally confused artificial life form David. Osment's performance is extraordinary; he captures
with a palpable ease the simplicity of the character but also the depth that surfaces as the film moves along and David's journey evolves. The young
actor meshes David's
determination and naiveté extraordinarily well, the performance defining the film from a technical perspective, even surpassing Steven Spielberg's
admittedly wonderful handiwork. Spielberg's vision and style for the picture is a great aid, particularly through the critical first act; he uses skewed
perspective and unique camera shots with regularity to help capture and establish the social and emotional awkwardness of the story. Perhaps the
film's finest shot -- and one that can be seen as something of a foreshadow -- is the one in which David is introduced on-screen. His figure is terribly
blurred and misshaped, appearing as if an alien, an apt descriptor for something different, an unknown, something never before seen or experienced.
Spielberg is the undisputed master of creating and maintaining his own unique worlds and shaping his audiences's perspectives through visual cues;
while his second act is awkward at best and the third thematically meaningful but structurally built on unstable ground, the film works on the
strength of
its first act, the
performance of its lead, and the weight of the whole of the story.
A.I. Artificial Intelligence arrives on Blu-ray with a high quality 1080p, 1.78:1-framed transfer. The film is deliberately a bit soft and hazy by its
nature, and Paramount's Blu-ray captures the film's intended visual scheme quite well. A healthy amount of grain is retained over the image, and while
fine details are a touch muted under the slightly soft texture, the transfer still picks up some fantastic textures, whether across human and artificial
faces or even more mundane elements such as the wood grains seen throughout the Swinton home. Colors are stable and accurate to the film's
purposeful visual structure; blown out,
almost overbearing whites are commonplace but deliberately utilized so as to create an almost dreamlike feel throughout the picture, particularly in the
first act.
The darker second act sports good-looking black levels, and crush is never a cause for concern. In fact, the darker scenes reveal quite a bit of excellent
detail, whether as seen in some of the seedy hotels or around the carnival atmosphere of the "Flesh Fair." The image doesn't have much of an
artificially sharpened feel to it, and print artifacts and technical bugaboos like banding and blocking are absent. Overall, this is a nice-looking image that
sports a handsome filmic texture; A.I. Artificial Intelligence doesn't have the same kind of "wow" factor as do the slicker new releases, but like
other Spielberg films on Blu-ray and from Paramount/DreamWorks in particular, it looks as the director intended.
A.I. Artificial Intelligence debuts on Blu-ray with a DTS-HD MA 6.1 lossless soundtrack. The film begins as, audibly, fairly reserved, with clean
and accurate but low-key music and atmospherics the only real supportive elements behind the center-focused and satisfyingly crisp dialogue. Both the
airy music and the natural ambience give the movie a sense of space that further helps pull listeners into the story. As the film moves along, the track
becomes home to progressively more aggressive sound effects. The "secret mission" sequence in chapter 12 delivers a hefty low end accompaniment,
and bass becomes more prominent when heavier sound effects work their way into the picture as it moves along. Imaging and directional effects are
generally seamless; a future helicopter-like vehicle swirls around the listening area with ease in one scene, and the dumping of various junked robot
scrap parts in another adds a nice bit heavy, rattly kick to the proceedings. Generally, though, sound effects are limited to a support structure, but the
track yields fine clarity to both lighter and heavier elements alike. A.I. Artificial Intelligence may be a dialogue-centric film, but this lossless track
is well capable of delivering some more pronounced effects when the situation arises.
A.I. Artificial Intelligence delivers a lengthy list of extra content, but noticeably absent is an audio commentary track.
Creating A.I. (480p, 12:05): The crew speaks on the picture's themes and ideas, the project's history and the collaboration
between Kubrick and Spielberg, and Spielberg's molding of the story, ending with a brief look at building the picture's visuals and introducing viewers
to the cast and crew through seconds-long clips.
Acting A.I. (480p): Broken into two pieces -- A Portrait of David (9:06) and A Portrait of Gigolo Joe (6:00) --
this extra features Haley Joel Osment and Jude Law speaking on their characters, the film, and their experiences on the set.
Designing A.I. (480p): Another two-part supplement, Designing A.I. features Concept Illustrator Chris Baker and
Production Designer Rick Carter discussing the picture's unique look in A.I.: From Drawings to Sets (7:26) while Costume Designer Bob
Ringwood speaks on his work in Dressing 'A.I.' (5:28).
Lighting A.I. (480p, 4:23): Director of Photography Janusz Kaminski discusses his varied looks for the picture's three acts and
the importance of lighting in shaping the picture's mood.
The Robots of A.I. (480p, 13:42): Beginning with a brief overview of "Mecha" in A.I., the supplement continues on to
look at the varied designs and creations of the robots seen in the film, with emphasis on "Teddy" and "Gigolo Joe."
Special Visual Effects and Animation: ILM (480p): A five-piece extra that looks at the history behind and the process of creating and
adding both computer-generated and practical special effects to A.I. Sections include An Overview (5:10), The Robots
(3:23), The Miniatures (4:16), New York City Sequence (2:51), and Animating 'A.I.' (8:06).
The Sound and Music of A.I. (480p): A supplement broken into two distinct halves that more closely examine each title
element: The
Sound of 'A.I.' (6:45) with Sound Designer Gary Rydstrom and The Music of 'A.I.' (5:49) with Composer John Williams.
Closing: Steven Spielberg: Our Responsibility to Artificial Intelligence (480p, 2:26): Over the opening credits, the director discusses the
human-mecha relationship and man's responsibility with ever-evolving technology.
A.I. Archives (1080p): A collection of various still images. The first four sets include unique branches that allow users to view
only specific and related images. Primary groups include Storyboards, Chris Baker's Portfolio, Production Design Portfolio, ILM Concept Art, Portrait
Gallery Photographs by David James, and Steven Spielberg Behind the Scenes Photographs by David James.
What a fascinating slice of cinema. A.I. Artificial Intelligence is a wonderfully conceived and highly thought-provoking film with the execution to
match, at least in the first act and, at times, the third. The story examines what happens when humanity tries to remove itself from the equation; that
the end result of that endeavor
that lacks humanity
only
wants to find its one missing element is a wonderfully engaging premise. The film explores the search for life where it does not and cannot exist, but it
also suggests that maybe it's not the soul, but the recognition of its absence and the resultant sense of purpose and the quest to find it that really
makes something "human." Steven Spielberg handles the story proper expertly; there's no telling what the
film might have looked like in Stanley Kubrick's hands -- maybe it would have bridged the bookend acts a bit better -- but as it stands, A.I. Artificial
Intelligence is more of a succes of thought-provoking concept than anything else. The film certainly manages to engage its audiences through the
story and characters, but they are ultimately just vessels upon which the story boards and travels to its various destinations along the line that takes
viewers through life as it is seen in both the prisms of the absence of and search for humanity. A perfect film for a philosophy, psychology, film, or even
maybe a religion class, A.I. Artificial Intelligence may not be a masterwork of cinema, but its story is certainly a masterwork of the mentally
challenging type. Paramount's Blu-ray release of A.I. Artificial Intelligence yields above-average technical specs and a nice assortment of extra
content. Highly recommended.
The Blu-ray release of Steven Spielberg's A.I. Artificial Intelligence, initially slated for February 15 but later delayed to April 12, will finally hit store shelves a week earlier than the revised date – in other words, on April 5. Technical specifications and ...
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