I have always found it difficult to immerse myself in period film noirs. The reason for this I have not yet been able to ascertain, but, at least as consolation, there is another kind of film noir that seems to be making more and more of an impression with me, and that is the sci-fi film noir. I am increasingly finding that movies like Blade Runner, Minority Report, Dark City and even Total Recall add that much more intelligence, detail, and philosophical dimension to the genre. Alex Proyas's surprisingly efficient I, Robot can be added to the rolecall as well. With a sturdy screenplay and some favourable visuals, it's a release that's managed to avoid the heaping pile of lackluster blockbusters this year.
The setting is Chicago, the year 2035. Will Smith is in fine form as Detective Spooner, a police office with a tormented past. He is dispatched to investigate the apparent suicide of the head of robotic research for a major corporation (James Cromwell) but, as with all films of this kind, Spooner seems to think there is more at work than meets the eye. This, however, is where the contrivances end and the twists and turns begin. What follows is an intriguing series with possible suspects such as greedy CEO Lance Robertson (Bruce Greenwood), intrepid scientist Susan Calvin (Bridget Moynahan), and "Sonny" the robot (Alan Tudyk), who seems to be displaying more emotional and erratic behaviour than the norm.
The film has its share of action, but it shows off some interesting concepts as well, based I am guessing on the Isaac Asimov book of the same name. Here, there are "robot ghettos", cars that get parked vertically, and interactive holograms that require the viewer to phrase their questions in exactly the correct way for them to properly respond. And, while not a terribly deep journey into the philosophical plains, it broaches some interesting questions about identity, personality, ownership and technology. Since the robots of the future are created to do menial jobs, they are programmed to obey a set of three primary rules which, in theory, are designed to prevent robots from ever doing harm to their human creators, and for no harm to ever come to themselves either. It's a curious concept that gets put to the test in a few ways over the span of the film.
Where I, Robot might slip slightly is in its glossy but not very affecting supporting performances. Smith is fairly solid, but there are times when the rest of the players lower their potential intensity to make way for the grandiose visuals. Still, there is a superb narrative at work, and it packs quite a punch. The script, penned by A Beautiful Mind's Akiva Goldsman and Jeff Vintar, never lags in pace and Alex Proyas's propensity for lush cityscapes help make it a visual and directorial triumph.
A few years from now, I can visualize I, Robot having a network premiere, tidily fitting into a 2 1/2 hour timeslot, and already devoid of foul language to help those that contort movies to meet broadcast specifications. When that day comes, I will certainly be tuning in for a second look, because this is an enthralling sci-fi film noir that merits repeat viewings. I'll take Detective Spooner and his intense investigative work over the ho-hum Harry Potters and Peter Parkers I've sat through this past summer anytime.
