จักรกลอัจฉริยะ

เรื่องย่อ

เมื่อถึงวันที่ทรัพยากรธรรมชาติร่อยหรอจนแทบไม่เหลือ และเทคโนโลยีก้าวล้ำเกินกว่าจินตนาการ วันที่บ้านพักของคุณ จะถูกจับจ้องตรวจตราอยู่ตลอดเวลา, อาหารที่คุณรับประทาน ผ่านกระบวนการทางวิศวพันธุกรรมหลายขั้นตอน, และผู้ที่บริการเสิร์ฟคุณอยู่นั้น ก็ไม่ใช่คนเลยแม้แต่กระเบียดนิ้ว ทุกสิ่งทุกอย่างล้วนประดิษฐ์ขึ้น ไม่ว่าจะเป็น งานทำสวน, งานดูแลบ้าน, แม้แต่เพื่อนชวนคุย - ก็จะมีหุ่นยนต์ ตอบสนองทุกความต้องการให้กับคุณได้ เว้นแต่เพียง ความรัก อย่างเดียวเท่านั้น อารมณ์ความรู้สึกเป็นปราการด่านสุดท้าย และยังคงถกเถียงถึงการสร้างให้เป็นจริง ในยุคปฏิวัติหุ่นยนต์อยู่อย่างกว้างขวาง หุ่นยนต์ทั้งหลายถูกจัดชั้นไว้ เป็นเพียงเครื่องจักรกลซับซ้อนเกินบรรยาย แต่พวกมันก็ยังคงไม่มีอารมณ์ความรู้สึกอยู่ดี ในขณะที่พ่อแม่หลายคู่ที่ยังไม่อาจมีบุตรของตัวเองได้ โอกาสที่จะสร้างบุตรหุ่นยนต์ ให้มีอารมณ์ความรู้สึก ก็ยังคงเป็นไปได้อย่างมาก

คะแนน

3 รีวิว

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  Peter McGinn

  6 8 พ.ค. 2564

  I bought this on DVD many years ago, convinced I had never seen it. I finally got around to watching it, and it wasn’t until I reached the robot demolition circus (words I bet I have never seen in the same sentence before) that I realized I had watched this movie before. That is a memorable sequence. In many respects I thought the movie was well made: the special effects, the deep thinking behind the plot, and the writing was mostly good. It almost felt like it was covering too much ground, and I felt there were a few lapses. I will mention only one, and try not to give anything away. There is a pivotal scene where John Hurt’s character is with the AI child David. It took a lot of effort to get David there, so what does the guy do/ he leaves David alone and unchaperoned. And the end of the movie turns on that. Why would he wander off like that except to serve the plot? Still, the film, mirroring and projecting the story of Pinocchio into the future, was quite an achievement. I liked it, but not as much as a lot of other Spielberg efforts.

• 

  Andre Gonzales

  4 14 เม.ย. 2566

  The movie was actually pretty good. The ending sucked to me though.

• 

  CinemaSerf

  7 28 พ.ย. 2566

  With their son "Martin" supposedly out for the count, "Henry" (Sam Robards) procures a solution for his wife "Monica" (Frances O'Connor) in the form of "David" (Haley Joel Osment). He is a state of the art android. Not robotic in function like previous models, but an adaptive model that can learn to love, to feel, to be... Initially very apprehensive, she gradually bonds with the curious and friendly young man just as readily as dad "Henry" starts not to. Then, re-enter "Martin" (Jake Thomas) who turns out to be a rather malevolent and jealous lad who, with his fellow human friends, contrives a scenario that results in "David" becoming abandoned with only his talking "Teddy" for company. Now "David" had learned of the famous "Blue Fairy" who could turn him into a real boy, so convinced that his mother would love him again, sets out to track it down at the end of the Earth. His adventures along the way are perilous, he meets some salvage hunters with an almost circus-like approach to recycling before alighting on "Gigolo Joe" (Jude Law). His name says it all, his job being to "pleasure" women who want something that bit special. The two share his quest as the latter is pursued by the authorities - but can "David" reach his holy grail? This is heavily based on the "Pinocchio" story and that gives it a solid, potent and dark bedrock for a story of wishing for the moon. Osment is super here as the vulnerable but determined and lost lad looking for a mother's love and affection. Law also reminds us why he was ever an A-lister with an almost Astaire-esque performance as the ostensible wastrel who has more substance to his character than we might expect. The last half hour takes it's time, that could do with being tightened up - but the whole gist of this story of being careful what you wish for is otherwise well balanced between the drama, the emotion, a bit of technology and some fun too. It takes a swipe at the temporary culture that has prevailed for generations and maybe just reminds us that if it seems to good to be true, then it almost certainly is. Looks great on a big screen and is Spielberg at his most sensitively imaginative.