Ai Artificial Intelligence/ [DVD] [Import]

ロボット映画の金字塔か 感情移入してしまう作品だった

子供の頃に見た映画で万人受けしやすい今の時代を少し先取りしたようなＡＩの映画なので楽しめると思う。 個人的には『4K ULTRA HD Blu-ray』で買いたかったかな。

配送ありがとうございます。 すぐ届きました

ありがとう。

レンタルに在庫がないため購入。コレクションしておきたかった作品なので満足してます。

ＳＦとヒューマン・エモーションのコンパウンド。いつもながらのスピルバーグ節。お好きな方はどうぞ。

再生スムーズで見たかった映画なので助かりました ありがとうございます

面白くなくはないです。 ただ無駄に長い。 特に後半、もっとあっさりの方が絶対感動する。 くどくて正直冷めちゃいました。 ナレーションも（彼ら）の話も説明っぽくて長い。 あんなに具体的な話しなくていいのに。。

Il venditore è stato eccezionale. Spedizione immediata, consegna in largo anticipo rispetto i tempi stimati, ottimo prezzo. Se posso consigliargli un accortezza, gli proporrei di usare più pluriball per garantire l'integrità del prodotto. Io sono stato fortunato perchè è arrivato perfettamente intatto ma la confezione era letteralmente devastata per incuria di corrieri e servizio postale. Conoscevo già il film e ne ero assolutamente innamorato. Il cast eccezionale, la regia coinvolgente e la fotografia stimolante rendono il tutto un ottimo prodotto. Il film è importante, commovente, intenso e profondo quindi ad alcuni potrebbe risultare noioso se non disposti a goderselo ponendosi domande o trovando risposte. L'amore è il filo che collega tutto. Un amore viscerale ma che nasce...da circuiti. L'audio del DVD è molto buono ma il lavoro nella trasposizione grafica è molto mediocre, la qualità video lascia un po' a desiderare (ma questa non può essere colpa del venditore e quindi non abbassa la valutazione della recensione). Nel complesso è un titolo che merita di stare in una collezione che si rispetti.

"A.I. Artificial Intelligence", or "A.I.", is a Steven Spielberg American science fiction fantasy drama film, released June 29, 2001, loosely based on the 1969 short story "Supertoys Last All Summer Long" by Brian Aldiss; hailed as one of Spielberg's best works and one of the greatest films of all time; set in a futuristic society, the film stars Haley Joel Osment as 'David', a childlike ten-year-old sentient android uniquely programmed with the ability to love who, like 'Pinocchio', wishes to become a 'real boy'; also starring William Hurt as 'Professor Allen Hobby', mastermind of A.I. and David's creator; 'Teddy', an animatronic puppet robotic teddy bear, who serves as David’s sidekick; Frances O'Connor as 'Monica Swinton', David's adoptive mother; Jude Law as 'Gigolo Joe', a true ‘love machine’ sex-toy android; and Jake Thomas as 'Martin Swinton', David's stepbrother. At the time this movie came out and was first released on DVD, I purchased the 2-disc special edition on March 5, 2002. This is a wonderful and extremely interesting movie, which I have watched many times. The story still fascinates, and it is timeless. This review discusses "spoilers" intended for viewers who have seen the movie and now contemplate its present relevance, with this recommendation to watch the film again. In today's world, more than 20 years later, I now see everything in a new light, the light of thought-provoking relevance and a message. Now that Artificial Intelligence has become a reality in the forefront of today's news, with Google's and Microsoft's recent implementations; with Turing laureates Geoffrey Hinton and Yoshua Bengio, and physicist Stephen Hawking and business magnate Elon Musk, and dozens of artificial intelligence experts signing open letters on artificial intelligence, calling for research on how to prevent certain potential "pitfalls"; I see in the movie "A.I. Artificial Intelligence" a tacit revelation of biases of which we are not even aware; elusive flaws in character, committed unwittingly, not by choice; rather, a weakness from an excess of virtue, a guilt of hubris, an overstep in limitations; and I see the concept of potential "pitfalls" in developing artificial intelligence algorithms in the same light as edified by those preeminent experts – Hawking, Hinton and Musk. Moreover, I now view notable science fiction in the light of such luminaries as Jules Verne (Twenty Thousand Leagues Under the Seas, pub. 1871), George Orwell (1984, pub. 1949), Isaac Asimov (The Evitable Conflict and I, Robot, pub. 1950), H.G. Wells (World Brain, 1936 – 1938), and Aldous Huxley (Brave New World, pub. 1932), who's olden fiction actually imagined what you might recognize today, as giving credence to a subliminal if not an implied notion of flawed algorithm, prophetically conjured in Spielberg's "A.I.". In a recent interview, Spielberg said of artificial intelligence, "It's got me very nervous; the soul is unimaginable and ineffable; the soul cannot be created by any algorithm; it is just something that exists in all of us; and to lose that because it is being written by machines that we created... that terrifies me." The story takes place in the distant future of the 22nd century, when rising sea levels from global warming have wiped out 99% of existing cities, reducing the world's population, and mechanical (aka 'mecha') humanoid robots, capable of complex assignments but lacking emotions, have been created as replacements. The movie "AI: Artificial Intelligence" begins with the brilliant scientist 'Professor Allen Hobby' saying, "I believe that my work on mapping the impulse pathways in a single neuron can enable us to construct a mecha of a qualitatively different order. "I propose that we build a robot who can love," and he tells his Cybertronics Corp engineers, "You see, what I’m suggesting is that love will be the key by which they acquire a kind of subconscious never before achieved. An inner world of metaphor, of intuition, of self-motivated reasoning. Of dreams. "Ours will be a perfect child caught in a freeze-frame - always loving, never ill, never changing. With all the childless couples yearning in vain for a license, our little mecha would not only open an entirely new market, it will fill a great human need." Scholars write that "in the real world, an algorithm is not an objective tool; algorithms are a computer-simulated reflection of encoded human expectations; it is as human as the programmer who codes it, and humans are biased. Algorithms in the real world cannot act on their own. These algorithms are built and designed by humans, and all the input is curated, selected, and created by humans. And they bear the humans' faults. Algorithms are the literal manifestation of “playing by someone else’s rules.” So, algorithms, the underlying process of decision-making in artificial intelligence systems, are imperfect, prone to bias, and make unpredictable decisions that impact the future. The first challenge is implicit bias, which is the unconscious perceptions people have that cloud their thoughts and actions." In the introduction, rationalizing his creation of an android capable of love, Professor Hobby says, "But in the beginning, didn’t God create Adam to love him?" and this gives us a euphemistic glimpse of his hubris in the creation of an idealized love. As his creation, 'David', a ten-year-old child-like sentient android (mecha) uniquely programmed with the ability to love, becomes self-aware and self-improving, we come to see in retrospect that he is no different from his maker, that Doctor Hobby's subconscious biases are manifest in David's algorithm characteristics of love as egocentric, selfish, adaptive, and obsessive, to the detriment of all else, elusive of every virtue, not by design but by assimilation of the character flaws inherent in the implicit bias corrupting the algorithm written by his maker. David's egoism, resting solely on self-interest, is unmistakably obvious near the conclusion of his quest for love. David finds his way back to Cybertronics and, wandering about, he finds another mecha that looks just like him. Disturbed, David wildly destroys it in a confused and jealous psychopathic rage. Continuing to look around, he finds the different mechanical items that were instrumental in his creation, as well as fully-boxed 'David' and 'Darlene' units for consumer purchase. Confronting Professor Hobby upon discovery, David says, "I thought I was one of a kind," to which Hobby replies, "My son was one of a kind," a reference to modeling David in the exact likeness of Hobby's real-life son that died, "You are the first of a kind," to which David replies, "My brain is falling out," giving further evidence of the instability inherent in the algorithm written by Professor Hobby. We recognize this flawed artificial intelligence only in hindsight because we are beguiled by the illusion of unrequited love. The moral is this, "We must recognize our limits and respect them." Apropos: The name of Professor Hobby's artificial intelligence engineering firm, 'Cybertronics', has an obscure literary connotation with cryptic allusion to cognitive bias in developing artificial intelligence, raising the question of whether the movie's story is fiction or prescience. Notably, Jules Verne's 1871 classic 'Nautilus submarine' from his novel "Twenty Thousand Leagues Under the Seas" became a reality 80 years later in the form of the USS Nautilus (SSN-571) commissioned in 1954. There are many previously mentioned examples of so-called fiction that have become reality. More relevant is the portent of implicit or cognitive bias algorithm given by science fiction writer Isaac Asimov (1920 – 1992) in "The Evitable Conflict" and the "I, Robot" series, both published in 1950, in which the sentient artificial intelligent "Machine" reason that their necessity to humanity is to take control to protect humanity from itself. A prescient warning. One of the more interesting aspects of Leonardo Da Vinci's inventions and discoveries is that they had no real influence on future generations because they were trapped and kept hidden from everyone until hundreds of years later, after they had already been "re-discovered." He never published any of his findings because some would be considered "heresy" and "blasphemous," and others because he did not want them to fall into the wrong hands. Others because he knew they would not be possible until the far future. A precursor to what Galileo would later undergo, for Galileo was not so wise and was condemned for heresy in 1633 because the Church held that heliocentrism was a "foolish and absurd philosophy, and formally heretical since it explicitly contradicts in many places the sense of Holy Scripture." “All our knowledge hast its origins in our perceptions … In nature there is no effect without a cause … Experience never errs; it is only your judgments that err by promising themselves effects such as are not caused by your experiments … Science is the observation of things possible, whether present or past; prescience is the knowledge of things which may come to pass.” ― Leonardo da Vinci (b. April 15, 1452, Anchiano, Italy; d. May 2, 1519, Château du Clos Lucé, Chapel of Saint-Hubert, Amboise, France) Source: The Notebooks of Leonardo da Vinci (1883): published by Jean Paul Richter (1883), as translated into English by Mrs. R. C. Bell and Edward John Poynter, XIX Philosophical Maxims. Morals. Polemics and Speculations.

Amazing film! Though, I was surprised to see the box set in French. Was returned to Amazon. Perfect for anyone who can read French I guess!

Zur Handlung: (kein direkter Spoiler) Die Thematik des Films über den Umgang mit uns immer ähnlicher werdenden Robotern wurde exzellent behandelt. Der Plot an sich verliert im Mittelteil (nach der Autoszene mit Davids Mutter) bis ca. 15 min vor Schluss den Zusammenhang. Das ist ein deutlicher Dämpfer. Die Überleitung ist Steven Spielberg ( der nebenbei eben diesen Mittelteil als seine eigene Kreation und die anderen als Kubricks preist) nicht gelungen. Der Zuschauer verliert dabei ein wenig den Anschluss, da sich diese Welt von der heilen Welt vom Anfang nicht erahnen lies. Ansonsten ist besonders die Entwicklung von David (langsame Vermenschlichung) wirklich flüssig und einleuchtend. Zu den Darstellern: Die wirklich exzellenten Darsteller insbesondere David und seinen Mutter verleihen dem Film seine Überzeugungskraft. Besonders Haley Joel Osment ist sehr überzeugend. Über die emotionale Beanspruchung: Normalerweise keine extra Erwähnung. Der Film beherrscht das allerdings herausragend gut. Auch der Mittelteil enthält dahingegend sehr gute Szenen. Auch hier Lob an den Hauptdarsteller (aber auch an Monica Swinton) für die Umsetzung und an Kubrick für die Idee. Die Qualität der (Trick)-Technik und Gestaltung: Vergleicht man die Tricktechnik von Star Wars Episode 1 ( Jahr 1999) und A.i. (Jahr 2000) wir einem auffallen das Star Wars deutlich schlechtere Qualität hat. Man hat sich schlichtweg übernommen. A.i. hingegen sieht auch 17 Jahre nach der Produktion klasse aus. Das auf unecht schminken der realen Darsteller baut zudem Brücken. Die Technik im Film wirkt glaubwürdig. Über die Qualität der Blu Ray: Sehr feines Bild, jedoch kurz am Anfang und gegen Schluss (vll. auch noch woanders) etwas Rauschen. Kann seine das es gewollt ist oder die Blu Ray auf diese Szenen mit feinen Partikeln nicht optimiert wurde. Die Premium Collection enthält zudem viele Bilder aus dem Film + die etwas emotional gehaltene ;) Hintergrundgeschichte zur Filmentstehung. Da der Preis nahezu gleich ist lohnt sich der Kauf. Fazit: Der Film widerspricht dem Hollywood Mainstream. Natürlich gibt es dafür dann keinen Oscar (Oscars sind auch kein Qualitätsmerkmal). Man merkt deutlich die Handschrift Kubricks. Wer weg von Hollywood Masse will hat hier einen Film der den Übergang erleichtert. Halb Spielberg, halb Kubrick. Handlung: 3/5 (absteigende Gewichtung: Drehbuch 3/5, Thematik 5/5) Darsteller: 5/5 (absteigende Gewichtung: Haley Joel Osment 5/5, Jude Law 3/5, Monica Swinton 4/5, William Hurt 3/5) Emotion: 5/5 Effekte: 5/5 (5/5 relativ zum Jahr 2000, 4/5 relativ zum Jahr 2017) Blu Ray: 5/5 (4/5 nur wenn das mit dem sehr seltenen Rauschen nicht gewollt war)

Même si le film n'est plus tout récent, j'ai vraiment apprécié.