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Facing a mechanical menace

An adaptation as agile as its eerie antagonistas

By Mike Disen

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Published: Thursday, July 15, 2004

Updated: Friday, January 9, 2009

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Will Smith eyes the NS5 line of robots, looking for a murderer. Smith stars as detective Del Spooner in the new film "I, Robot," adapted from an Isaac Asimov story and directed by Alex Proyas ("The Crow").

There is nothing particularly revolutionary about "I, Robot." The elements of the story have been done before, be it the near-future urban setting, the infallible technology that somehow goes bad, or the lone hero whom nobody believes. In a summer movie season that includes "Spider-Man 2," "Harry Potter and the Prisoner of Azkaban" and "The Day After Tomorrow," we have seen the maturing power of computer graphics, and "I, Robot" is just one more player on a crowded field. Will Smith, indefatigably charismatic as always, is now starring in his sixth science fiction blockbuster, following the likes of "Men in Black" and "Independence Day."

What makes "I, Robot" special, then, is the secret to many successful movies: solid execution of a new mix of proven elements. Whatever the film lacks in raw originality of concept it more than makes up for with a capable script, effective performances from the actors, and inventive action choreography and pacing. The talented genre director Alex Proyas ("The Crow," "Dark City") has taken a classic piece of fiction from the visionary sci-fi writer Isaac Asimov and turned out an incredibly fun action thriller.

Will Smith stars as homicide detective Del Spooner, recently returned to duty in 2035 Chicago. Thirty-one years in the future, life-like robots are integral to human society, handling everything from dog-walking to trash pick-up to large-scale industrial manufacturing. Every robot is "3 Laws Safe," meaning they are incapable of harming a human being or violating orders from humans. Despite this design, Spooner nurses a deep distrust of robots, a stance that earns him mockery from his co-workers and reprimands from his boss, Lt. John Bergin (Chi McBride).

On the eve of a massive roll-out of the NS5, a new generation of robots from the U.S. Robotics Corporation, the lead designer and company founder dies in an apparent suicide. A cryptic note left for Spooner leads him to question whether USR's robots are as safe as everyone believes, and he begins an investigation into the case with the help of USR employee Dr. Susan Calvin (Bridget Moynahan). What he finds may be hazardous for USR's profits, but it is even more dangerous for the rest of the world.

Smith performs admirably in the lead role, effortlessly carrying his scenes, whether with human or robot (or cat). His trademark humor is restrained, but generally works when it emerges. Moynahan is somewhat stiff playing Dr. Calvin, even more so than her cold scientist character demands, but she opens up as the movie progresses. Chi McBride is given the thankless task of playing the tired police chief foil to Smith's unconventional detective, but manages to make the character likable enough that he pays off in the movie's climax. Notable performances by Bruce Greenwood as the USR CEO, James Cromwell as the dead inventor, and especially Alan Tudyk in an unusual but prominent role flesh out a sound supporting cast.

The special effects are seamlessly integrated into the movie, which is important given the high level of interaction between humans and machines. The NS5 robots, a contribution by the talented production designer Patrick Tatopoulos, are particularly well designed, able to connect emotionally while still retaining their detached, alien presence. Chicago in the future is a little too clean and perfect, but the great level of detail lends to its credibility. Product placement, an unfortunate trend in high-profile films, is unnecessarily blatant, but blessedly brief.

The action sequences are imaginative and engaging, especially

the final 20 minutes. High-speed combat and slow-motion effects combine beautifully to illustrate the chaos of the action without it being to difficult to follow. Amidst a massive robot swarm, director Proyas uses a kinetic spinning camera to great effect, although audiences should be cautioned to sit farther back in the theater if they are particularly susceptible to motion sickness.

In a summer full of huge blockbusters, it is difficult to stand out from the pack. "I, Robot" earns its place among the unqualified successes of the season.

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