Um menino robótico altamente avançado anseia por se tornar "real" para poder recuperar o amor da sua mãe humana.Um menino robótico altamente avançado anseia por se tornar "real" para poder recuperar o amor da sua mãe humana.Um menino robótico altamente avançado anseia por se tornar "real" para poder recuperar o amor da sua mãe humana.
- Indicado a 2 Oscars
- 18 vitórias e 71 indicações no total
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- CuriosidadesStanley Kubrick worked on the project for two decades before his death, but along the way, he asked Steven Spielberg to direct, saying it was "closer to his sensibilities." The two collaborated for several years, resulting in Kubrick giving Spielberg a complete story treatment and lots of conceptual art for the movie prior to his death, which Spielberg used to write his own scenario. Contrary to popular belief, Spielberg claims he introduced many of the darker elements into the story, while Kubrick's main contribution consisted mostly of its "sweeter" parts. In a 2002 interview with movie critic Joe Leydon, Spielberg indicated that the middle part of the movie, including the Flesh Fair, was his idea, whereas the first forty minutes, the Teddy bear, and the last twenty minutes were taken straight from Kubrick's story. Ian Watson, who wrote Kubrick's original treatment, confirmed that even the much-criticized ending, assumed by many to be a typical Spielberg addition, was "exactly what (he) wrote for Stanley, and exactly what he wanted, filmed faithfully by Spielberg."
- Erros de gravaçãoMuch of the film's early action takes place in Haddonfield, New Jersey. New York City is subsequently shown to be under water. Haddonfield's elevation (81 feet) is lower than that of New York City (87 feet), and it is near both the Atlantic coast and a river leading to the ocean, so Haddonfield should be under water too.
- Citações
[last lines]
Narrator: [narrating, as David lays next to Monica in bed] That was the everlasting moment he had been waiting for. And the moment had passed, for Monica was sound asleep. More than merely asleep.
Narrator: [David holds Monica's hand, closing his eyes] Should he shake her she would never rouse. So David went to sleep too. And for the first time in his life, he went to that place... where dreams are born.
- Cenas durante ou pós-créditosSentient Machine Therapist ... JEANINE SALLA Assistant to Mr. Chan ... LAIA SALLA Toe-Bell Ringer ... KATE NEI Cybertronics - Room 93056 ... CLAUDE GILBERT Sentient Machine Security ... DIANE FLETCHER Covert Information Retrieval ... RED KING These are characters from the AI alternate-reality game that was connected to the release of the film, and was played over the Internet. Several of the TV and cinema trailers for AI contained clues for game players, including the name Jeanine Salla listed in the credits at the end of the first trailer. This was the way into the game. The room number given in Claude Gilbert's credit is a further clue to game players.
- Versões alternativasFor the U.S. theatrical release, the Warner Bros. logo appeared before the Dreamworks logo at the beginning of the film, and the poster credits said, "Warner Bros. and Dreamworks Pictures present." Since the U.S. version's home video/DVD rights are owned by Dreamworks, the Dreamworks logo at the beginning of the movie appears before the Warner Bros. logo, and the back of the box's cover art says, "Dreamworks Pictures and Warner Bros. present."
- Trilhas sonorasWhat About Us
Written by Al Jourgensen, Paul Barker, Max Brody and Ty Coon (as Deborah Coon)
Produced by Al Jourgensen and Paul Barker with Robert Ezrin (as Bob Ezrin)
Performed by Ministry
"A.I." is harder for me to justify. While not technically a Kubrick film, it is a Kubrick project that was finally directed by Steven Spielberg, following Kubrick's death. The result is a film that manages to combine the worst qualities of these two great filmmakers: it has Kubrick's obtuseness as well as Spielberg's sentimentality. The ending is deliberately designed to frustrate, to remove itself from any possible human reference point that we can easily relate to. At the same time, it's the sort of film that wants to be loved. There is even a teddy bear character that evokes mystery and awe more than cuteness. This awkward fusion of purposes left me feeling distinctly uncomfortable.
I feel unjustified for giving the film as low a rating as 6/10. I just so intensely disliked the film that I have great difficulty rating it any higher, despite its clever and thoughtful handling of the concept of artificial intelligence. No doubt Kubrick has covered this territory before, in "2001" with the character of Hal. But he seems to expand on it in this film, which features two android characters, a child robot played by Haley Joel Osment, and a robot gigolo (don't ask) played by Jude Law. The behavior of these characters is so subtle and complex that I was often left wondering what they were thinking and feeling, what the experience of being a robot was like, if such an experience is possible. I personally believe that there is something special about human subjective experience that cannot be duplicated by computer technology. But this movie presents the opposite view very compellingly, and without taking the standard route of making the androids seem human.
In this regard, Osment is spectacular: his performance in my opinion surpasses his Oscar-nominated one in "The Sixth Sense." There were moments when I looked at his eyes, his facial expressions, and I sensed an adult level of understanding and depth. Perhaps no child actor is better than Osment at acting creepy without being cute, as in one early scene when he startles his family with oddly forced laughter that doesn't seem to come with the appropriate emotions. He is playing a character who's supposed to pass for a child while not really being a child, and we slowly realize that he is in fact an alien intelligence with his own perspective and goals. Unlike a real child, he is not in the process of forming an identity. He already has one, and his only task is to fulfill his set desires and instincts, including his unbreakable attachment to his "mother" (Frances O'Connor) whom he is preprogrammed to love.
This setup is not very conducive to melodrama, yet that's much of what we get throughout the film, which tries to cast itself as a modern reinterpretation of "Pinocchio." Since Osment's character is not a real boy, we can never relate to him as one. His emotions are as artificial as his intelligence, and no enchantment or anything else will turn him into a real boy, because he simply isn't one. Yet the movie tries to manipulate our emotions so that we do see him as more human than he actually is. This approach leads the film to lose its focus in the second half and put forth one of the more perplexing and unsatisfying endings I've seen in a long time. I don't mind whether a film ends happily or sadly, but it should not try to force a weak solution to a hopeless situation, just to gain a few moments of cheap sentiment.
- kylopod
- 8 de nov. de 2005
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- Idioma
- Também conhecido como
- I.A. Inteligencia Artificial
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Bilheteria
- Orçamento
- US$ 100.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 78.616.689
- Fim de semana de estreia nos EUA e Canadá
- US$ 29.352.630
- 1 de jul. de 2001
- Faturamento bruto mundial
- US$ 235.926.635
- Tempo de duração2 horas 26 minutos
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1