A.I.: Artificial Intelligence

Yeah, so it's talk-heavy and long — perhaps even a little slow. And maybe it could be seen as being a little aloof. And the possibility exists that it might even be a tad too intelligent for mass consumption.

But so what? "A.I.: Artificial Intelligence" takes more chances than any recent movie — especially those of the science-fiction genre — and doesn't treat moviegoers as if they are idiots, which is a real rarity these days.

It also touches on dicey philosophical territory — and broaches the subjects of existence, love and immortality — that were also explored in the films "Blade Runner," "Bicentennial Man" and "2001: A Space Odyssey" (stylistically, it looks like those films as well), but it manages to give it a slightly different spin.

"A.I." may frustrate impatient viewers more accustomed to quick payoffs, and, admittedly, the sudden shifts in tone are a little off-putting. But for those looking for something more in a movie, this may just the ticket. It's challenging fare, and it's fascinating to watch the developing career of young actor Haley Joel Osment, who plays the title character.

That would be David, a "Child-Substitute Mecha," or robotic child, which has been programmed to love. As part of an experiment, he's "adopted" by a human couple (Sam Robards and Frances O'Connor) with a terminally ill child (currently in cryogenic "deep-sleep").

It takes David's new "mother" awhile to warm to the oddity — he never sleeps or eats. But, eventually, she begins to accept him as her own. But when her flesh-and-blood son recovers, it begins a bitter "sibling rivalry" that leads to her abandoning David in the woods.

There, he's fortunate enough to fall in with other castaway 'bots, including Gigolo Joe (Jude Law), who promises to help David in his quest to become human — that is, if they can avoid the treacherous "Flesh Fairs," a robot demolition derby of sorts run by militantly anti-mecha humans.

That's as much as can be revealed without spoiling some of the surprises. As for the expected complaint that the material isn't "Spielberg-ian" enough, remember that "A.I." began its cinematic life as a project for late director Stanley Kubrick, one of Spielberg's influences and mentors. (Though Spielberg wrote the script, he's actually working here from a screen story that was written by Ian Watson and loosely adapting the Brian Aldiss short story "Super-Toys Last All Summer Long," which had been commissioned by Kubrick.)

Through the film's first third, Spielberg does an effective job of emulating Kubrick's style, while the final third is pure Spielberg. (The middle section is a less successful blending of the two styles.)

The performances are also very strong, though it's the adolescent Osment who has to carry much of the load. British actors O'Connor and Law both lend able support, but it's Osment's show, and he makes it work. (By the way, that is Ben Kingsley providing the voice of the film's narrator, as well as the voice of one of its more colorful characters — and such diverse performers as Robin Williams and Chris Rock have voice "cameos.")

"A.I.: Artificial Intelligence" is rated PG-13 for violence (robotic mayhem, as well as a violent tantrum), vulgarity (suggestive sex talk), scattered profanity, glimpses of nude artwork and brief gore. Running time: 144 minutes.

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