isn’t at all designed for young children. That calm is intentionally broken at times with fiery action, but the waves quickly simmer back into ripples and the ripples calm into gentleness again. Other negative elements: An innocent David barges in on his mother, Monica, while she’s using the toilet (no nudity is shown).Ĭonclusion: Shimmering reflections, refractions, distortions and intricate close-up camera work mark the movie’s wispy, almost ethereal air. Kudos to Spielberg for not using up his “rating allotment” just because he can.ĭrug and alcohol content: David’s mom and dad drink wine with dinner.
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Two instances are combined with the word “d–n.” No other profanity eats through the skin of this PG-13 film. In a fit of angst and frustration, David attacks another robot, decapitating the being and bludgeoning it with a blunt weapon.Ĭrude or profane language: A half-dozen misuses of God’s name. One machine’s grisly head flies through the air, landing right in front of David (and moviegoers). Since many of them look and act human, the spectacle takes on a dark hue as acid dissolves their faces, whirling propeller blades make mincemeat of their bodies and fire chars their skin.
Elsewhere, in a circus of sorts called a “Flesh Fair,” robots are destroyed in gruesome ways. Her husband found out about her robot romances and killed her for it. Violent content: One of Joe’s “women” is found lying dead in a hotel room. In what amounts to a giant red-light district, the landscape is littered with garish, sexually suggestive signs, lights and statues. He uses a small projection device to show them a moving image of a scantily-clad woman dancing.
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“Once you’ve had a lover robot,” he tells one woman, “you’ll never want a real man again.” Joe gets a car full of guys to give him a lift by teasing them with tales of robotic hookers. What does appear onscreen is the personality-shifting Joe telling his tricks how amazing their encounter is going to be. Thankfully, he’s never seen consummating any of his relationships. Sexual content: Gigolo Joe is programmed to flirt. Christian moviegoers will also notice a distinct absence of God during catastrophic circumstances that should warrant His inclusion. Standing outside a Catholic church, Gigolo Joe smirks that he gets a lot of business from the women who go inside to find God, then come out to find him. “In the beginning, didn’t God create Adam to love him?” he asks. Spiritual content: A scientist remarks that his ambition to create a robot that can feel is similar to God’s.
One robot remarks that the “ones who made us are always looking for the one who made them.” And obviously, the journey to become “real” is really a journey to be accepted. Positive elements: Everything about David’s quest for love radiates with valuable life lessons. And it leads him to places you’d never dream of (or even have nightmares about). (Is it a big surprise that the fairytale of Pinocchio is used throughout the film to mirror futuristic happenings?) So David finds himself on an all-too-human quest. He wants to be a “real little boy.” He wants his mother to love him for who he is, not for the things he does for her.
Not just the sensation of pain or cold, but the ability to bond, trust, love and hate. He is the first robot child to be constructed and the first to be given the ability to feel. Artificial intelligence is at its zenith. Technology makes up for human deficiency. Try for a moment to mentally merge the classic children’s book The Velveteen Rabbit with Stanley Kubrick’s 2001: A Space Odyssey. It’s the execution of those themes that are exceedingly complex. The themes of A.I.: Artificial Intelligence are simple: the need to be real and the desire to be loved.