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Watch the 19 Best Films About Artificial Intelligence at This Indie Movie Theater

Artificial intelligence sure seems like it's having a moment, but a new film series from New York City art cinema Metrograph proves that moment has been going on for nearly 100 years.

The live action Ghost in the Shell hitting theaters later this month is only the latest in a long line of Hollywood blockbusters exploring the paranoia around machines overtaking man.

'I saw that the film was coming out, I saw the discourse around it, and I was inspired to show the original one to avoid that discourse altogether,' Ma tells Creators.

Some of the films screening at the Lower East Side theater over the next month help reconcile this new techno-centric reality, and some rightly question what it means to be human once self-aware machines exist.

A.I. Artificial Intelligence

Artificial Intelligence, also known as A.I., is a 2001 American science fiction drama film co-written, co-produced, and directed by Steven Spielberg, co-written by Ian Watson, and based on the 1969 short story 'Supertoys Last All Summer Long' by Brian Aldiss.

The film languished in protracted development for years, partly because Kubrick felt computer-generated imagery was not advanced enough to create the David character, whom he believed no child actor would convincingly portray.

In a 2016 BBC poll of 177 critics around the world, the film was voted the eighty-third greatest film since 2000.[3]

In the late 22nd century, rising sea levels from global warming have wiped out coastal cities such as Amsterdam, Venice, and New York and drastically reduced the world's population.

David, a Mecha that resembles a human child and is programmed to display love for his owners, is given to Henry Swinton and his wife Monica, whose son Martin, after contracting a rare disease, has been placed in suspended animation and not expected to recover.

Monica feels uneasy with David, but eventually warms to him and activates his imprinting protocol, causing him to have an enduring childlike love for her.

Before the pair can be destroyed with acid, the crowd, thinking David is a real boy, begins booing and throwing things at the show's emcee.

They set out to find the Blue Fairy, whom David remembers from The Adventures of Pinocchio, and who David believes can turn him into a real boy, allowing Monica to love him and take him home.

Kubrick began development on an adaptation of 'Super-Toys Last All Summer Long' in the late 1970s, hiring the story's author, Brian Aldiss, to write a film treatment.

Bob Shaw briefly served as writer, leaving after six weeks due to Kubrick's demanding work schedule, and Ian Watson was hired as the new writer in March 1990.

In early 1994, the film was in pre-production with Christopher 'Fangorn' Baker as concept artist, and Sara Maitland assisting on the story, which gave it 'a feminist fairy-tale focus'.[7]

'We tried to construct a little boy with a movable rubber face to see whether we could make it look appealing,' producer Jan Harlan reflected.

Spielberg copied Kubrick's obsessively secretive approach to filmmaking by refusing to give the complete script to cast and crew, banning press from the set, and making actors sign confidentiality agreements.

for a family film, no action figures were created, although Hasbro released a talking Teddy following the film's release in June 2001.[15]

Artificial Intelligence was released on VHS and DVD by Warner Home Video on March 5, 2002 in both a standard full-screen release with no bonus features, and as a 2-Disc Special Edition featuring the film in its original 1.85:1 anamorphic widescreen format as well as an eight-part documentary detailing the film's development, production, music and visual effects.

The bonus features also included interviews with Haley Joel Osment, Jude Law, Frances O'Connor, Steven Spielberg and John Williams, two teaser trailers for the film's original theatrical release and an extensive photo gallery featuring production sills and Stanley Kubrick's original storyboards.[32]

This release featured the film a newly restored high-definition print and incorporated all the bonus features previously included on the 2-Disc Special Edition DVD.[33]

A.I went on to gross $78.62 million in US totals as well as $157.31 million in foreign countries, coming to a worldwide total of $235.93 million.[34]

Based on 192 reviews collected by Rotten Tomatoes, 73% of critics gave the film positive notices with a score of 6.6/10.

The website's critical consensus reads, 'A curious, not always seamless, amalgamation of Kubrick's chilly bleakness and Spielberg's warm-hearted optimism.

Of the film's ending, he wondered how it might have been had Kubrick directed the film: 'That is one of the 'ifs' of film history—at least the ending indicates Spielberg adding some sugar to Kubrick's wine.

The actual ending is overly sympathetic and moreover rather overtly engineered by a plot device that does not really bear credence.

Leonard Maltin, on the other hand, gives the film two stars out of four in his Movie Guide, writing: '[The] intriguing story draws us in, thanks in part to Osment's exceptional performance, but takes several wrong turns;

to Solaris (1972), and praised both 'Kubrick for proposing that Spielberg direct the project and Spielberg for doing his utmost to respect Kubrick's intentions while making it a profoundly personal work.'[41]

Film critic Armond White, of the New York Press, praised the film noting that 'each part of David’s journey through carnal and sexual universes into the final eschatological devastation becomes as profoundly philosophical and contemplative as anything by cinema’s most thoughtful, speculative artists – Borzage, Ozu, Demy, Tarkovsky.'[42]

Dubbing it Spielberg's 'first boring movie', LaSalle also believed the robots at the end of the film were aliens, and compared Gigolo Joe to the 'useless' Jar Jar Binks, yet praised Robin Williams for his portrayal of a futuristic Albert Einstein.[45][not in citation given]

Spielberg responded to some of the criticisms of the film, stating that many of the 'so called sentimental' elements of A.I., including the ending, were in fact Kubrick's and the darker elements were his own.[47]

was very successful (and the 4th highest earner of the year) but it didn't do quite so well in America, because the film, so I'm told, was too poetical and intellectual in general for American tastes.

Plus, quite a few critics in America misunderstood the film, thinking for instance that the Giacometti-style beings in the final 20 minutes were aliens (whereas they were robots of the future who had evolved themselves from the robots in the earlier part of the film) and also thinking that the final 20 minutes were a sentimental addition by Spielberg, whereas those scenes were exactly what I wrote for Stanley and exactly what he wanted, filmed faithfully by Spielberg.'[50]

Upon rewatching the film many years after its release, BBC film critic Mark Kermode apologized to Spielberg in an interview in January 2013 for 'getting it wrong' on the film when he first viewed it in 2001.

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