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Spielberg’s innocent plans on a harrowing concept is a breathtaking battle ticking for more than two hours. As always, he walks on a textbook structure, well crafted old methods that speaks their own tales. A perfect example would be of the first act itself, where the series of all intentions gone wrong case is to be projected. And with skillful execution, he foliates the explicit writing on screen as it was anticipated. But unfortunately, there are other forces stopping him to reach his goal, and the primary one is the semantics of the storyline. A track so long and overstuffed that there is very little space for the audience to breathe even though Spielberg allows enough room and space to the audience to chew in.
And with a jarring last act that emotionally fuels the screen with humility and innocence and not for a split second does it grow manipulative. Joel Osment, the highly advanced unique bot which is intended to be emotionally competent, successfully manages to move us with an amazing performance. Law, as the sidekick and literally a supporter of his has a stereotypical role to fill in which doesn’t stop him from giving back a sensational performance.
If the first half of the film is spent upon getting kicked and judged by the world for the protagonist, the second one is discovering about his identity and finding his voice, and even though it lands on a pathos world, there is a lot of hope emitting among those mechanical bodies walking around. Frankly, even though there is very little to invest upon in its first act, the efficient procedure of his that are thoroughly convincing and thought provoking is fun on its own. Artificial Intelligence: AI set in future, as it quotes, raises a mythological question and to answer it, has its own merits.