Review by John Barker © 2004
- Take a pot shot but be warned.

            Taking inspiration from Issac Asimov’s short fictional stories about robotic-futurism, I, Robot is the vision of Australian director Alex Proyas who brought us the gothic delights of The Crow and Dark City. Unfortunately, the grim-grunge of the helmer’s past films is lost to the summer profitability of a Will Smith vehicle.

            The narrative is based around Asimov’s own stated principles of robotics where a robot can not harm a human life and of course the plot involves the first robot to ever be accused of murder. Technophobia is the thematic constant of most science fiction films and I, Robot explores this issues interestingly centring on Will Smith’s annoying Detective Spooner, who when not occupied with wise-cracking is torn between his hatred of robots and the acceptance of his own artificial mechanical implants

            Following the future-noir narrative of Spielberg’s Minority Report, Smith’s tortured detective investigates the murder of the forefather of domesticated robots in Chicago 2035. The similarities between the Tom Cruise sci-fi smash and this more immature effort extend to the visual sheen of the film, which is all post-industrial metallic silver and grey, and I, Robot also contains a red-herring filled dénouement.

            The narrative finale of the film may be satisfying, but when the emotional centre of the film is concluded the script divulges into Independence Day territory, with synchronised overhead jet flights and global unity between man and machine, leaving a slightly sickening taste in the stomach considering the cynicism that has preceded the credits.

            But as with all blockbuster faire, the common a garden viewer is more interested in the spectacle of the films various special effects and while the NS-5 robots are finely crafted digital creations (although very similar to some of the mecha from the other recent Spielberg sci-fi effort A.I), the futuristic vision of Chicago is hardly breathtaking, as are the slow-motion camera moves that will try to remind spectators of The Matrix, but will fail ultimately. 

            The Wachowski brothers, who directed The Matrix trilogy, injected large amounts of Baudrillardian theory into their science-fiction saga and screenwriter Jeff Vinter adds his own sly references to the French philosopher’s seminal text mentioning ‘simulacra’ and the metaphysical idea of the computerised soul as a ‘ghost’, which first appeared in the Manga-masterpiece Ghost in the Shell.

            When the ‘ghosts’ finally revolt against their human masters and try to imprison them, the scenes of clashing human and android forces reminded this reviewer of the L.A riots of 1992, as the urban chaos that precipitates is harrowing and fuelled with street violence.

Beyond social and cultural links with urban America, the film is fun and fancy free and while Smith could do with toning down his Bad Boys persona, this does not detract from a handful of interesting ideas, which will make I, Robot an accomplished android, rather than an irritating hemorrhoid.