The first part of this film, which has three distinct parts, is none other than the implementation of the new Brian Aldiss, who served as a trigger for the project "AI" by Stanley Kubrick. If he had the vision of the city of New York submerged to transcend his tale, Spielberg, who rewrote the script, would prefer to talk through a voiceover, the planetary disaster and only disclose this scheduled '“Apocalypse” during the movie’s conclusion. Similarly, instead of presenting the daily life of this bleak future and the problems of coexistence between humans and robots, or more exactly between "Lensers" and "Mecas, he chose to use a narrative technique in which he excels us into this universe through the sacrosanct American family unit (whose father is here practically ousted), although this time he forced his hand and adopts a setting cooler accents Kubrickiens.
Then the film switches with the abandonment of David by his mother. Ejected from the family cocoon, the child-mech will discover the full horror of the outside world. Under the protection of Gigolo Joe and his eternal companion, Teddy, the Bear mechanism which acts of consciousness, like a cyber Jiminy Cricket, David will walk through "Red City" in hopes of finding him a clue about the location of the Blue Fairy. Suddenly breaking the rhythm of his storytelling, Spielberg moves from the cozy and intimate part, climate for a circus hatred and frustration in the massacre of mechanoids creatures, eventually sliding into the amusement park atmosphere of a futuristic Las Vegas.
But the best is yet to come, since "AI" in his last game, took the path of speculative science fiction, dear to the two monsters of American films that Kubrick and Spielberg are to conclude with a much darker projection than the fabric of fairy tale used to take us there, and offer his thoughts on the existence and future of humanity.