442 reviews
Most people who have seen this movie are of the opinion that it was average at best. Indeed there is no complicated plot, no big action scenes and a predictable ending but there is a Story. It's Andrew with his Box of Chocolats, simply going through life searching for what eludes him and what we generally take for granted - humanity. The characters along the way are well acted - in particular the robot creator and his ditsy assistant. This movie is a tear jerker as Andrew's friends come and go and lifetimes pass him by without him really comprehending it all. The only real failings were the large gaps in time and how Andrew came about - but then it's difficult to compress 200 years into 1 1/2 hours. If you enjoyed Azimov's books as much as I did, then this movie is for you. Far better in my opinion than IA or I Robot who also took their cues from Azimov.
Isaac Asimov, scientist, anthropologist, and philosopher all in one, thought of this Robotic subject beyond the mere joy of fantastic possibilities of computer technology -- it's a more encompassing inquiry to what if a Robot thinks, feels, loves, and yes, wants to be accepted as a human, the imperfections and all!
This Chris Columbus directed movie, with the ever-eloquent Robin Williams, and radiant double deliveries (two character portrayals) by Embeth Davidtz, is not the usual Robin Williams comedy fare. It's not "Flubber" or "Mrs. Doubtfire"; it's a philosophical fable at best. It's the reverse of John Boorman's "Zardoz" (1973), where man wanting to be eternally youthful -- here, Robot Andrew (Robin Williams) does not want to be immortal. He wants to experience and feel life, and with a beloved human companion.
This Robotic journey spanning decades, gives us life lessons, prompts us to think reflectively on questions of life and living, growing old and resignation to death. The point filtered through Portia (Embeth Davidtz) that being human is to risk and make mistakes/wrong decisions, hearkens to a quote by John Cage: "Computers are always right, but life isn't about being right."
Film score is by James Horner ("Legends of the Fall", "Braveheart", "Titanic"). Location shots include San Francisco landmarks with added air transport images (likened to "The Fifth Element") in a futuristic sky. There are no explosive actions or flying bullets, it's an immortal tale about the acceptance of being a mortal human.
This Chris Columbus directed movie, with the ever-eloquent Robin Williams, and radiant double deliveries (two character portrayals) by Embeth Davidtz, is not the usual Robin Williams comedy fare. It's not "Flubber" or "Mrs. Doubtfire"; it's a philosophical fable at best. It's the reverse of John Boorman's "Zardoz" (1973), where man wanting to be eternally youthful -- here, Robot Andrew (Robin Williams) does not want to be immortal. He wants to experience and feel life, and with a beloved human companion.
This Robotic journey spanning decades, gives us life lessons, prompts us to think reflectively on questions of life and living, growing old and resignation to death. The point filtered through Portia (Embeth Davidtz) that being human is to risk and make mistakes/wrong decisions, hearkens to a quote by John Cage: "Computers are always right, but life isn't about being right."
Film score is by James Horner ("Legends of the Fall", "Braveheart", "Titanic"). Location shots include San Francisco landmarks with added air transport images (likened to "The Fifth Element") in a futuristic sky. There are no explosive actions or flying bullets, it's an immortal tale about the acceptance of being a mortal human.
BICENTENNIAL MAN (1999) ***
Starring: Robin Williams, Sam Neill, Wendy Crewson, Embeth Davidtz, and Oliver Platt Directed by Chris Columbus. Running Time: 133 minutes. Rated PG (for mild language and some sex-related material)
By Blake French:
Chris Columbus is very good at directing tearjerkers. He has a history of constructing such movies as "Stepmom" and "Mrs. Doubtfire." "Bicentennial Man" is being misadvertised as a humble family comedy. Although it starts out unsatisfying, the film gradually becomes more and more penetrating as we discover the film is really about inner emotions, the changing of times, how people change over time, and the meaning of life from an original point of view. "Bicentennial Man" is a sweet, touching production with lots of heart and a shapely message.
At first "Bicentennial Man" looks to be about a futuristic family who buys an android robot that is supposed to do housework and serve them. The family of four includes two children, one named Little Miss, and the parents who are called by the name of Sir and Ma'am. They adopt Andrew expecting him to be similar to all the other androids in the area. Nearly every household has one. However, Sir soon notices certain features about Andrew that make him unique, different from any other android he has ever seen. Andrew occupies creativity and emotional personality, elements that these robots are presumed not to contain.
The film doesn't contain a good an introduction to the family who adopts Andrew, which is mainly the reason why I was never entirely concerned for the characters. But the reasoning behind the lack of focus on the family is due to the fact that "Bicentennial Man" isn't about the family who buys Andrew, but a narrative of Andrew himself.
A running flaw in the film is our foundering curiosity that only grows more ponderous as the script progresses. The audience desires more information about why Andrew is so different from the other robots. There are obvious reasons, sure, but what I wanted was an explanation of why he is special. A lust for information that is never appropriately granted.
The film skips ahead a generation or so. Sir and Ma'am age and Little Miss grows to be a full grown woman. Many things change for Andrew. He begins to wonder what lies beyond the likes of his household. He longs for emotional reactions to take place on his face and the concept of freedom. Sir has taught Andrew about death, sex, love, humor, and time. He gradually wants more and more independence. This is where Andrew starts becoming interested in turning from a mechanical being to a biological being.
The age advancing make-up is believable and awe-inducing. I could hardly trust my eyes that Sam Neill wasn't an old man in the movie. However, although I can see that the filmmakers had no other reliable option, I disliked the jumps in time the it takes. The time gaps force us out of massive plot pieces, some of which are important to the character development.
There are some really funny moments in "Bicentennial Man." Most of them appear when the picture becomes a bit emotionally heavy, in order to relieve such tension in the audience. This is a wise choice in the writer's part; the viewers who do mistake this movie as a family comedy will gain some satisfaction from these insulated humorous moments.
I wanted more information on how the robot Andrew gradually becomes ''human.'' I felt cheated out of a lot of decent, noteworthy material here. I felt this way because the scenes where we do have the privilege to see Andrew reinvented are wonderfully inventive and interesting. The film should have leaned towards that material a little more.
The movie features super charged performances by the entire cast. Robin Williams offers an emotionally accurate acting job that brings the confusion and imagination of the android Andrew to life. The supporting cast is also filled with fine performances with Sam Neill, Wendy Crewson, Embeth Davidtz, and Oliver Platt.
Even though I can admit that "Bicentennial Man" contains several flawed motives, I still was a little surprised that the film opened to many negative reviews. This isn't a bad movie, just a differently anticipated one. The movie sets up its effective conclusion from the very beginning; it is the only logical climax for such a story. Although it leaves viewers with a sense of well-being, I thought it posed too many spiritual and biological questions. Overall, however, the movie is a well-depicted idea that deserves more appreciation from audiences than its receiving.
Brought to you by Touchstone Pictures and Columbia Pictures.
Starring: Robin Williams, Sam Neill, Wendy Crewson, Embeth Davidtz, and Oliver Platt Directed by Chris Columbus. Running Time: 133 minutes. Rated PG (for mild language and some sex-related material)
By Blake French:
Chris Columbus is very good at directing tearjerkers. He has a history of constructing such movies as "Stepmom" and "Mrs. Doubtfire." "Bicentennial Man" is being misadvertised as a humble family comedy. Although it starts out unsatisfying, the film gradually becomes more and more penetrating as we discover the film is really about inner emotions, the changing of times, how people change over time, and the meaning of life from an original point of view. "Bicentennial Man" is a sweet, touching production with lots of heart and a shapely message.
At first "Bicentennial Man" looks to be about a futuristic family who buys an android robot that is supposed to do housework and serve them. The family of four includes two children, one named Little Miss, and the parents who are called by the name of Sir and Ma'am. They adopt Andrew expecting him to be similar to all the other androids in the area. Nearly every household has one. However, Sir soon notices certain features about Andrew that make him unique, different from any other android he has ever seen. Andrew occupies creativity and emotional personality, elements that these robots are presumed not to contain.
The film doesn't contain a good an introduction to the family who adopts Andrew, which is mainly the reason why I was never entirely concerned for the characters. But the reasoning behind the lack of focus on the family is due to the fact that "Bicentennial Man" isn't about the family who buys Andrew, but a narrative of Andrew himself.
A running flaw in the film is our foundering curiosity that only grows more ponderous as the script progresses. The audience desires more information about why Andrew is so different from the other robots. There are obvious reasons, sure, but what I wanted was an explanation of why he is special. A lust for information that is never appropriately granted.
The film skips ahead a generation or so. Sir and Ma'am age and Little Miss grows to be a full grown woman. Many things change for Andrew. He begins to wonder what lies beyond the likes of his household. He longs for emotional reactions to take place on his face and the concept of freedom. Sir has taught Andrew about death, sex, love, humor, and time. He gradually wants more and more independence. This is where Andrew starts becoming interested in turning from a mechanical being to a biological being.
The age advancing make-up is believable and awe-inducing. I could hardly trust my eyes that Sam Neill wasn't an old man in the movie. However, although I can see that the filmmakers had no other reliable option, I disliked the jumps in time the it takes. The time gaps force us out of massive plot pieces, some of which are important to the character development.
There are some really funny moments in "Bicentennial Man." Most of them appear when the picture becomes a bit emotionally heavy, in order to relieve such tension in the audience. This is a wise choice in the writer's part; the viewers who do mistake this movie as a family comedy will gain some satisfaction from these insulated humorous moments.
I wanted more information on how the robot Andrew gradually becomes ''human.'' I felt cheated out of a lot of decent, noteworthy material here. I felt this way because the scenes where we do have the privilege to see Andrew reinvented are wonderfully inventive and interesting. The film should have leaned towards that material a little more.
The movie features super charged performances by the entire cast. Robin Williams offers an emotionally accurate acting job that brings the confusion and imagination of the android Andrew to life. The supporting cast is also filled with fine performances with Sam Neill, Wendy Crewson, Embeth Davidtz, and Oliver Platt.
Even though I can admit that "Bicentennial Man" contains several flawed motives, I still was a little surprised that the film opened to many negative reviews. This isn't a bad movie, just a differently anticipated one. The movie sets up its effective conclusion from the very beginning; it is the only logical climax for such a story. Although it leaves viewers with a sense of well-being, I thought it posed too many spiritual and biological questions. Overall, however, the movie is a well-depicted idea that deserves more appreciation from audiences than its receiving.
Brought to you by Touchstone Pictures and Columbia Pictures.
Owing to the fact that it is based on an Isaac Asimov story, `Bicentennial Man' turns out to be a more interesting and meaningful film than both its advertising campaign and its own opening section would indicate. The caveat for those seeking out a fun film for the entire family is that this movie, though initially sold as a warm cuddly comedy in the tradition of say `Mrs. Doubtfire,' actually deals with some very heavy and heady issues like sexuality, aging and dying, which may make it less-than-ideal viewing for young children.
The first section of the film is, by far, its weakest. In 2005, the wealthy Martin family receives delivery of a brand new servant android (Robin Williams) who, almost immediately, begins to display a remarkable range of human emotions and interests. Thus, we are set up for yet another in a long line of predictable tales (i.e. `Harry and the Hendersons,' `Stuart Little') in which a family comes to adopt a strange, not-quite-human creature, welcoming him in as one of their own. Indeed, in the film's early stages, there is no shortage of either bland humor or drippy sentimentality as Andrew, the android, ingratiates himself with all but one of the Martin household. The `wit' in the film consists, basically, of endless jokes about how Andrew takes all idioms at literal face value, a running gag that is, finally, as unoriginal as it is wearying.
Then, however, just as we are about to give up hope in it, the movie becomes more intriguing. Rather than staying within the context of the present life of this one family, the screenplay begins to move ahead in time, exploring Andrew's gradual growth toward total humanity, while the initial family grows up and eventually dies off. Actually, despite how one may feel about the film itself, one must admire its boldness and audacity, for it is not often that, in a film billed as a mass audience comedy, all the main characters pass on to their heavenly reward at one point or another but, then again, how many comedies span a two hundred year time period? `Bicentennial Man' obviously has more on its mind than mere fish-out-of-water buffoonery, as it becomes an often-elegiac reflection on the transience of life, the meaning of being human and the search for societal acceptance. The mood of the film is remarkably hushed and reflective at times, which again might make it slow going for the modern mass audience more conditioned to a faster pace and giddier tone, especially in a Robin Williams film (though, of late, his films have certainly been taking on a much more somber quality, vide `What Dreams may Come,' `Patch Adams' and `Jakob the Liar'). There are times when `Bicentennial Man' seems overly impressed with its own self-importance, yet one appreciates its refusal to settle for the easy path of cheap comedy and upbeat sentiments. There is, indeed, a real sadness to much of the film.
Special acknowledgement should be made of the superb art direction, set design, costume design, makeup and special effects that together give the film its understated and believable futuristic look. In addition, James Horner's melancholic symphonic score, though a bit lubricious at times, does create an atmosphere of contemplative seriousness that perfectly matches the tone and purpose of the film.
`Bicentennial Man' may not turn out to be what you are looking for when you first seek it out, but, if you approach it with an open mind and a certain degree of tolerance and indulgence, you may be pleasantly surprised and, perhaps, even rewarded.
The first section of the film is, by far, its weakest. In 2005, the wealthy Martin family receives delivery of a brand new servant android (Robin Williams) who, almost immediately, begins to display a remarkable range of human emotions and interests. Thus, we are set up for yet another in a long line of predictable tales (i.e. `Harry and the Hendersons,' `Stuart Little') in which a family comes to adopt a strange, not-quite-human creature, welcoming him in as one of their own. Indeed, in the film's early stages, there is no shortage of either bland humor or drippy sentimentality as Andrew, the android, ingratiates himself with all but one of the Martin household. The `wit' in the film consists, basically, of endless jokes about how Andrew takes all idioms at literal face value, a running gag that is, finally, as unoriginal as it is wearying.
Then, however, just as we are about to give up hope in it, the movie becomes more intriguing. Rather than staying within the context of the present life of this one family, the screenplay begins to move ahead in time, exploring Andrew's gradual growth toward total humanity, while the initial family grows up and eventually dies off. Actually, despite how one may feel about the film itself, one must admire its boldness and audacity, for it is not often that, in a film billed as a mass audience comedy, all the main characters pass on to their heavenly reward at one point or another but, then again, how many comedies span a two hundred year time period? `Bicentennial Man' obviously has more on its mind than mere fish-out-of-water buffoonery, as it becomes an often-elegiac reflection on the transience of life, the meaning of being human and the search for societal acceptance. The mood of the film is remarkably hushed and reflective at times, which again might make it slow going for the modern mass audience more conditioned to a faster pace and giddier tone, especially in a Robin Williams film (though, of late, his films have certainly been taking on a much more somber quality, vide `What Dreams may Come,' `Patch Adams' and `Jakob the Liar'). There are times when `Bicentennial Man' seems overly impressed with its own self-importance, yet one appreciates its refusal to settle for the easy path of cheap comedy and upbeat sentiments. There is, indeed, a real sadness to much of the film.
Special acknowledgement should be made of the superb art direction, set design, costume design, makeup and special effects that together give the film its understated and believable futuristic look. In addition, James Horner's melancholic symphonic score, though a bit lubricious at times, does create an atmosphere of contemplative seriousness that perfectly matches the tone and purpose of the film.
`Bicentennial Man' may not turn out to be what you are looking for when you first seek it out, but, if you approach it with an open mind and a certain degree of tolerance and indulgence, you may be pleasantly surprised and, perhaps, even rewarded.
I know it was much better than =I= was expecting. Yes, it's too long, yes, too much time is spent on the romance plot toward the end (and it's not very convincing), and yes, there are too many obvious, familiar robot jokes in the first two reels.
But guess what? Many of those jokes, thanks to razor-sharp timing, actually work. And the robot Adam Martin becomes so very appealing that you'll miss him when he eventually turns himself into Robin Williams.
The movie is very honest and open about its emotions (though the Horner score goes too far in trying to appeal to OUR emotions), and Williams is -- surprise surprise -- excellent as the robot. We believe in the character, we believe (mostly) in his world, and we believe in his journey toward humanity.
It's too bad that so many people already regard Andrew as a kind of variation on Star Trek's Data, because he's really a robot of another color altogether.
There are some missteps toward the end (where are all the other robots?), Galatea is an unnecessary character, and at times the characters seem to be existing in different movies. But it's surprisingly warm and amusing, it's authentically touching even when you think it can't possibly reach you, and St. Robin or no St. Robin, he's fine in the role.
But guess what? Many of those jokes, thanks to razor-sharp timing, actually work. And the robot Adam Martin becomes so very appealing that you'll miss him when he eventually turns himself into Robin Williams.
The movie is very honest and open about its emotions (though the Horner score goes too far in trying to appeal to OUR emotions), and Williams is -- surprise surprise -- excellent as the robot. We believe in the character, we believe (mostly) in his world, and we believe in his journey toward humanity.
It's too bad that so many people already regard Andrew as a kind of variation on Star Trek's Data, because he's really a robot of another color altogether.
There are some missteps toward the end (where are all the other robots?), Galatea is an unnecessary character, and at times the characters seem to be existing in different movies. But it's surprisingly warm and amusing, it's authentically touching even when you think it can't possibly reach you, and St. Robin or no St. Robin, he's fine in the role.
Good Will Hunting is WIlliams' best role; this is his second best; not bad company. Sam Neill is better in this film than any other as well. Oliver Platt is better in this film than any other. When you get three performances of three good actors at the top of their game, you are bound to have a good film. Oh, wait; this is the best Issac Asimov story of all time, and the music, even though it sounds pretty much like the sound track from The Mission, is one of the better film scores of the year. The special effects, cinematography, and supporting cast are all first-rate. But the script is what really makes the film. There are lines of dialogue that will choke you up (if your human), and other lines that will have you laughing out loud. Chris Columbus is a very good director, and with a script like this, it must have been a pleasure making this film. How it did not win Best Picture of the Year instead of American Beauty is beyond my comprehension. How ironic that 20 years after this film was made, people are looking to become immortal with body and body part replacements. They should view this film. Immortality sounds like a great idea (especially when you are dying from something), but the film shows us without preaching how this is not the best idea for humans. You stay alive while some of your loved ones die? If everyone is immortal then the planet will not be able to sustain itself. What if your son or daughter did not want to opt for immortality? You would have the pleasure of watching them grow old and die before you; talk about a guilt trip. We are humans trying to become robots, and the robots want to become humans. There is some irony in that as well. This film only reinforces my belief that robots are potentially superior to mankind; they do not lie, cheat, steal, or kill (unless programmed to do so by mankind). They can be kind, understanding, sensitive, funny, and more humane than most humans. A film ahead of its time.
- arthur_tafero
- Jan 4, 2019
- Permalink
- rchrdshelt
- Mar 27, 2005
- Permalink
Bicentennial Man is an overlooked family film that isn't perfect, but nonetheless doesn't deserve all the negativity it has received. Chris Columbus directs this with flair and he makes something really good here, and quite entertaining. Due to some scenes, this may upset younger viewers, but this is sure to appeal to anyone looking for something unique to watch. I can see why some people may dislike this one, but I on the other hand found it very entertaining and very well done. The special effects are truly wonderful and they add so much to the film. I thought that Robin Williams was truly great in the lead role. This is a fine drama that manages to overcome its shortcomings due to its heart. The cast are wonderful and they elevate the material significantly. Bicentennial Man is not perfect, but it definitely entertaining and is worth watching. Chris Columbus has directed something truly incredible that is very much underrated and like I said does not deserve the flack it has received. Of course Columbus has made better films in his career, but this is an overlooked gem that definitely is worth your time. Robin Williams is a good actor and he deserves credit in giving the film its charm as well as some humor here and there to lighten the tone of the drama. There are things that could have been done better, but overall the film really soars above the negative aspects that all the negative reviews have pointed out. Give this film a shot if you're in the right state of mind, you may be surprised at how good it really is.
- stormhawk2021
- May 24, 2017
- Permalink
I heaven't read the book, but BICENTENNIAL MAN is a very touching and heartwarming movie about a house-robot (Robert Williams) that begins a 200-year journey to become and to be legally recognized as a human. During his journey, he has to face the fact and live with it that all loved ones around him grow older and eventually die while he is immortal.
I think that this was one of Robin Williams' best performances ever, if not the best. He proves that he can either play a 'funny wacky' character but also a serious character that will touch the hearts of the viewers. And this movie does just that.
I like the purity and the innocence of the story and I wonder why this movie has such a low rating. It's a must see for all open minded people.
I think that this was one of Robin Williams' best performances ever, if not the best. He proves that he can either play a 'funny wacky' character but also a serious character that will touch the hearts of the viewers. And this movie does just that.
I like the purity and the innocence of the story and I wonder why this movie has such a low rating. It's a must see for all open minded people.
- Maarten1985
- Aug 12, 2006
- Permalink
This is not a perfect movie but it's cute, charming and has a lot of heart. Pacing is uneven and some parts feel very much like "a 90s movie" (meaning it has aged a bit) but the story still managed to surprise me in the direction it took. No big plot twist or wildly original concept, just a nice way to look at human connections. On the one hand, I wish I had watched it sooner; on the other it was a pleasure to be able and discover a new-to-me movie with the greatly missed Robin Williams.
Firstly, i have not read Asimov's book and therefore cannot remark on any errors in translation from book to film.
I have read many of the comments posted here on the IMDb, but fail to see why so many people feel the need to mention that the world is perceived as perfect in the the future, maybe it is, maybe it isn't, the fact is, it's not important. This movie quite simply follows the life of a man trapped in a robots body and his quest to be accepted in the world, and be allowed to love and cherish the people close to him.
I have to say that i didn't expect much from this movie, i thought it would be a kids film, full of typical Robin Williams style laughs, i was way off in my assumption. This is probably Robin Williams's best performance and it is a very emotional journey through change and development of the human condition.
Overall the film is quite amusing, very touching and is full of realistic characters all very well cast to not overshadow 'Andrew' as he quests over 200 years for acceptance.
A great movie 9/10
I have read many of the comments posted here on the IMDb, but fail to see why so many people feel the need to mention that the world is perceived as perfect in the the future, maybe it is, maybe it isn't, the fact is, it's not important. This movie quite simply follows the life of a man trapped in a robots body and his quest to be accepted in the world, and be allowed to love and cherish the people close to him.
I have to say that i didn't expect much from this movie, i thought it would be a kids film, full of typical Robin Williams style laughs, i was way off in my assumption. This is probably Robin Williams's best performance and it is a very emotional journey through change and development of the human condition.
Overall the film is quite amusing, very touching and is full of realistic characters all very well cast to not overshadow 'Andrew' as he quests over 200 years for acceptance.
A great movie 9/10
the emotions are pillars of this lovely modern fairy tale. because it is only version of the old myth of Pygmalion. because it could be an useful reflection of the struggle of different minorities for be accepted. because it represents a nice meeting between Isaac Asimov text and the art of Robin Williams. it is strange to define it more than trip in future and to remember old lectures. it preserves the flavor of childhood. its dreams, stories, desires and projects. its bitter steps to the self definition. its sweet romanticism. its silhouettes from a time of precise rules and noble feelings and the chosen. humor, delicacy, few splendid scenes, version of Pinocchio and, maybe, for a part of its public, homage to Collodi.in more measure than adaptation of Asimov. a nice film. and embroidery of emotions. .
- Kirpianuscus
- Jul 24, 2016
- Permalink
- lizziebeth-1
- Aug 20, 2002
- Permalink
Best robot film ever. This really is a great film, which shows how a machine who strangely is endowed with creativity, thought and awareness unlike other robots, strives to become more than he is. This is a great film and very much about family life, emotions, what it means to be human, and trying to better oneself through both serving others and learning with others about oneself. If you ever wanted to be more than you are then watch this film. This is not so much a film about robots or sci-fi, but a film about life and humanity and relationships, love and family. The robots and sci-fi are just a scenario which allows us to explore ourselves more as humans and wonder about our existence.
- Movie-ManDan
- May 10, 2018
- Permalink
- leandrogroh
- Dec 31, 2020
- Permalink
Humanity finally made Robot "Household Appliances" around the year 2000, but.. unexpectedly, Andrew* seems to be much more. What follows is the story of how this Andrew develops a very human-like AI and fight to be recognized as such.
Can't ask for a better leading casting than Robin Williams and Embeth Davidtz, in what is an interesting romance centered around sci-fi evolution. One that started by unknown means! Much like it is happening now with large language models, where the exact reasoning behind specific outputs (complex, creative, or flawed ones) is difficult or impossible to trace precisely.. even if it doesn't experience identity and only generate responses, so far.
The film is good, funny, entertaining, interesting and memorable! The parts where a robot kicks everyone into a future of androids and techno-biological organs is something I will always remember.
It is well cast and charmingly acted. Can't ask for anything more! Except it also functions as a window into what might be coming next, and it will be looked back as such.
Can't ask for a better leading casting than Robin Williams and Embeth Davidtz, in what is an interesting romance centered around sci-fi evolution. One that started by unknown means! Much like it is happening now with large language models, where the exact reasoning behind specific outputs (complex, creative, or flawed ones) is difficult or impossible to trace precisely.. even if it doesn't experience identity and only generate responses, so far.
The film is good, funny, entertaining, interesting and memorable! The parts where a robot kicks everyone into a future of androids and techno-biological organs is something I will always remember.
It is well cast and charmingly acted. Can't ask for anything more! Except it also functions as a window into what might be coming next, and it will be looked back as such.
- daisukereds
- Jul 11, 2025
- Permalink
In 1976, for the U.S. bicentennial, a publisher asked several well-known authors to write short stories for a collection. The only stipulation: that the word "bicentennial" be used in the title. From this particle of an idea, Isaac Asimov developed what would become one of his most poignant and beloved stories.
So it's a shame that the usual committee of fools in Hollywood got their hands on the tale, rather than someone who really appreciated it. Just as with the later "I, Robot", this movie takes a nicely written Asimov theme and repackages it for a generic audience with the taste, intellect, and attention span of a ten-year-old.
There are a lot of poorly-made movies out there (sometimes I think I've seen all of them) but rarely am I as profoundly disappointed as I was with this film. Not only did director Chris Columbus miss the point of the story, his movie entirely missed the FEEL of the story. There was no need to have pointless humor here, nor a love interest, nor any number of other distractions (not to mention lightweight comic Robin Williams in the lead; this would have been a perfect role for an understated performance by someone like Kevin Spacey.) It's a pity that the executives chose the low-and-easy road rather than for once challenging, ever so slightly, their audience.
A case in point: the profoundly stupid (no other word for it) scene near the beginning, when Asimov's famous "Three Laws of Robotics" are introduced. These were a recurring theme in his robot fiction, a logical hurdle the author placed in his characters' way to provide a scaffold on which to build the plots. The laws are key to the events in "Bicentennial Man" as well. Understandably, since not every viewer would be familiar with them, some method was needed to explain the laws to the audience. Yet rather than simply beginning the movie with these stated on the screen, they were trotted out to quite literal fanfares and fireworks. This silly approach seemed, frankly, a bit insulting. Implicit in the spectacle was Columbus' disdain for science fiction and all who enjoy it, as if to say (to all the non-fans in his audience) "hey, here's the silly premise for this geek movie!"
If you've never read "Bicentennial Man, it's conceivable you may well enjoy this film somewhat, as a typical mildly entertaining Robin Williams vehicle. But if you have read and appreciated the story, just go read it again. If you see this movie, you'll only ruin it for yourself.
So it's a shame that the usual committee of fools in Hollywood got their hands on the tale, rather than someone who really appreciated it. Just as with the later "I, Robot", this movie takes a nicely written Asimov theme and repackages it for a generic audience with the taste, intellect, and attention span of a ten-year-old.
There are a lot of poorly-made movies out there (sometimes I think I've seen all of them) but rarely am I as profoundly disappointed as I was with this film. Not only did director Chris Columbus miss the point of the story, his movie entirely missed the FEEL of the story. There was no need to have pointless humor here, nor a love interest, nor any number of other distractions (not to mention lightweight comic Robin Williams in the lead; this would have been a perfect role for an understated performance by someone like Kevin Spacey.) It's a pity that the executives chose the low-and-easy road rather than for once challenging, ever so slightly, their audience.
A case in point: the profoundly stupid (no other word for it) scene near the beginning, when Asimov's famous "Three Laws of Robotics" are introduced. These were a recurring theme in his robot fiction, a logical hurdle the author placed in his characters' way to provide a scaffold on which to build the plots. The laws are key to the events in "Bicentennial Man" as well. Understandably, since not every viewer would be familiar with them, some method was needed to explain the laws to the audience. Yet rather than simply beginning the movie with these stated on the screen, they were trotted out to quite literal fanfares and fireworks. This silly approach seemed, frankly, a bit insulting. Implicit in the spectacle was Columbus' disdain for science fiction and all who enjoy it, as if to say (to all the non-fans in his audience) "hey, here's the silly premise for this geek movie!"
If you've never read "Bicentennial Man, it's conceivable you may well enjoy this film somewhat, as a typical mildly entertaining Robin Williams vehicle. But if you have read and appreciated the story, just go read it again. If you see this movie, you'll only ruin it for yourself.
For Ray Bradbury the masterwork of perfect poignance is Drink Entire: Against the Madness of Crowds. For Isaac Asimov it is Bicentennial Man. Only Asimov could remake Pinocchio as compelling science fiction. So many have tried to create a sweet and funny story of the machine that would be man, but this is it's perfect telling.
Only Robin Williams could play the unlikely hero of this story with perfect comedic timing and perfect emotional pitch. Embeth Davidtz as his leading lady matches his skills at every turn, and Sam Neill turns in one his best performances as the man who first recognized the irreplaceable uniqueness of his mistuned android.
Bicentennial Man is first rate science fiction without physical conflict, without wars, without new ways to incinerate each other. In the end, it makes you glad to be a messy human. Watching this truly beautiful film is a wonderful way to spend an evening, and a guarantor of better dreams than you've had in many years.
Only Robin Williams could play the unlikely hero of this story with perfect comedic timing and perfect emotional pitch. Embeth Davidtz as his leading lady matches his skills at every turn, and Sam Neill turns in one his best performances as the man who first recognized the irreplaceable uniqueness of his mistuned android.
Bicentennial Man is first rate science fiction without physical conflict, without wars, without new ways to incinerate each other. In the end, it makes you glad to be a messy human. Watching this truly beautiful film is a wonderful way to spend an evening, and a guarantor of better dreams than you've had in many years.
- clarkpark-1
- Dec 16, 2006
- Permalink
Robin Williams is the funnyman. He's the guy most people enjoy on screen when they want a good laugh. In fact, he's done a good job at being versatile as well. Williams has also shown that he can play very serious roles that involve a lot of emotion. And this Chris Columbus film is probably one of his most emotional performances. Here, Robin Williams plays a robot named Andrew whose original purpose was to serve mankind. Soon, he becomes self-aware and wants to understand more about what it's like to be human.
This triggers a switch in Andrew's mind and from then on, he makes it his goal to do anything he can to be human. It's a very sweet plot that really tugs at the heartstrings. Unfortunately, this is where people may draw the line because the screenplay can get very sappy at times and very emotional. If a viewer likes that kind of material than there should be no problem but because this is about a robot who wants to become human, he's going to have to go through many significant events that many of us regular people have to go through everyday. This will have viewers feel like the story drags on forever. That's the downside to the writing - it can be very sappy and drawn out at times.
But for the cast, Robin Williams is very solid. He includes his mix of humor and emotion and performs well. His struggle to understand how to be human is very intimate because many of us can relate to such scenes that involve pain, love and joy. Sadly, he's also the only reason why people would want to go see this because through the running time, new characters come into play every scene which can be tiresome because the audience has to get to know a whole new set of faces. The special effects are good though. So much of it is well blended that it's hard to know what is real and what is CGI. But by far, the most effective element to this movie is James Horner's score. Every scene containing his music is to the point of magical and childlike simultaneously. Extremely emotional music. I would say it's for the true Robin Williams sappy story fans.
It has good special effects, excellent music and a performance many Robin Williams fans would love. However, the plot can be drawn out and overly sappy.
This triggers a switch in Andrew's mind and from then on, he makes it his goal to do anything he can to be human. It's a very sweet plot that really tugs at the heartstrings. Unfortunately, this is where people may draw the line because the screenplay can get very sappy at times and very emotional. If a viewer likes that kind of material than there should be no problem but because this is about a robot who wants to become human, he's going to have to go through many significant events that many of us regular people have to go through everyday. This will have viewers feel like the story drags on forever. That's the downside to the writing - it can be very sappy and drawn out at times.
But for the cast, Robin Williams is very solid. He includes his mix of humor and emotion and performs well. His struggle to understand how to be human is very intimate because many of us can relate to such scenes that involve pain, love and joy. Sadly, he's also the only reason why people would want to go see this because through the running time, new characters come into play every scene which can be tiresome because the audience has to get to know a whole new set of faces. The special effects are good though. So much of it is well blended that it's hard to know what is real and what is CGI. But by far, the most effective element to this movie is James Horner's score. Every scene containing his music is to the point of magical and childlike simultaneously. Extremely emotional music. I would say it's for the true Robin Williams sappy story fans.
It has good special effects, excellent music and a performance many Robin Williams fans would love. However, the plot can be drawn out and overly sappy.
- breakdownthatfilm-blogspot-com
- Jan 13, 2014
- Permalink