㈠ 有個電影講機器人的不知道什麼名字有沒有誰知道~
片名：《人工智慧》(A.I.: Artificial Intelligence)
導演：斯蒂文-斯皮爾伯格(Steven Spielberg)
編劇：Ian waston
主演：
海利-喬-奧斯蒙特(Haley Joel Osment)
裘德-洛(Jude Law)
弗朗西斯-奧康娜(Frances O'Connor)
薩姆-羅伯茲(Sam Robards)
類型：科幻片 /冒險
大概劇情：The "literalists" are clearly not happy with A.I. So now is a good time to recall that "2001: A Space Odyssey" was greeted upon release with derision, confusion, dismissive reviews, public consternation, and, oh yeah, some thought it was an absolute masterpiece. Beyond the monolithic influence of that film (think of Han Solo's jump to lightspeed, etc.), the symbols of "2001" -- TO THIS VERY DAY -- cannot be decoded using anything but the most personal, interpretive language. The obelisks, the message of the obelisks, the Star Child, Cosmonaut Dave's "room", HAL-9000's true motivation – all these things remain in our collective subconscious as indelible images that refuse to be concretely defined between or among viewers. WHAT CAUSES THIS CONFLICT OF PERCEPTION? IS IT INTENTIONAL? Again and again, Kubrick's films take us to a No-Man's Land of narrative and moral ambiguity, stranding us, forcing us to make decisions, demanding interpretation (or we can judge the surface, walk away, hate the film). To my perception, Kubrick is the only, true "Brechtian" film director. The device Brecht proposed is "Alienation Effect", or put simply, Leading the audience down two, divergent paths at once. My favorite example is "Barry Lyndon". Being the adventures of a young man, handsome, virtuous, well-meaning, ambitious, full of promise. Yet in every scene, the camera "pulls-back" revealing Barry (but never to himself) to be womanizing, self-absorbed, criminally inclined, socially inept, not very bright, morally bankrupt, and at last, a broken shell of a man. Or let's consider "Strangelove": Did Kubrick really create a headbanger, slapstick comedy about nuclear proliferation, mass destruction, and military/political incompetence? The real question is "Who else could have?" Well, that's my take on Kubrick's artistic sensibility, and, without daring to presume Spielberg's motivation, it's what drew them both to "A.I." Pinocchio, the Blue Fairy, cuddly Teddy Bears on one hand, but on the other hand – social institutions are faltering forever -- parenthood, childhood, science, instry, sexuality -- all distorted beyond repair. And Humans, the ultimate A.I. protagonist, seem blissed-out, in denial, more interested in creating "Davids", "Darlenes" and "Gigolo Joes" than in rising water levels and the imminent threat of extinction. Therefore, I believe A.I. is getting precisely the response all Kubrick films "INITIALLY" get. Spielberg's reputation and career can withstand anything that public perception might bring to his films, but I keep thinking that A.I. is the riskiest moment of his artistic life.
1.21世紀中期，由於氣候變暖，南北兩極冰蓋的融化，地球上很多城市都被淹沒在了一片汪洋之中。此時，人類的科學技術已經達到了相當高的水平，人工智慧機器人就是人類發明出來的用以應對惡劣自然環境的科技手段之一。
先進的人工智慧機器人不但擁有可以亂真的人類外表，而且還能像人類一樣感知自己的存在。大衛（海利·喬·奧斯蒙特）就是這樣一個有思想、有感情的小機器人，他被一對人類父母所收養，有一個哥哥和一個貼身的夥伴——機器泰德熊。但這些並不能讓大衛滿足，他一直渴望著自己終有一天不再僅僅是個機器人。抱著對這個願望的執著，11歲的大衛踏上了漫長的心路歷程，跟隨在他身邊的，還有另一個善良的機器人喬（裘德·洛）。誰也不知道他們能否完成自己的心願，脫胎換骨成為真正的人，等待他們的只有凶吉難料的對復雜人性的追尋……
2.未來世界缺乏資源，全賴科技主宰一切，服侍一家上下都由機械人代勞。因兒子患重病在雪藏等待治療期間，一對夫妻收養了一個名叫大衛的機械小男孩，他與眾不同之處是因為他是首個在計算機程序注入愛的機械人。當這對夫婦的兒子病癒後，大衛被棄荒野。他深信自己跟普通人無分別，與唯一伴侶機械小熊踏上征途，尋找《木偶奇遇記》幻變生命的女神，遇上機械舞男祖，被大衛感動……
3.這是一個自然資源缺乏，科學技術飛速發展的時代。現代化的住所，精心設計的飲食，為你服務的不再是人類，而是機器人。園藝、家務、友誼，機器人可以滿足每一個需求，但「愛」機器人是無法做到的。
在機器人發展過程中，為機器人賦予情感程序極具爭議。機器人被看作是現代設備，他們不應具有感情。但是現在由於很多父母沒有自己的孩子，所以這種可能性不是沒有。
一家計算機公司做出了一個決定：製作一個具有情感的機器人。他的名字叫大衛（哈利·約爾·奧斯曼）——第一個被輸入情感程序的機器男孩，作為一個試驗品被該公司的員工（山姆·羅伯茲）和他的妻子（弗朗西斯·歐康娜）收養。他們自己的兒子因病被冷凍起來，直到能治療這種病的方法出現。盡管大衛逐漸溶入這個家庭，但是，一系列意想不到的情況使得大衛對他現在的生活越來越無法忍受。
人類與機器都無法接受他，大衛開始了自己的旅行，尋找真正屬於自己的地方……