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Will Smith plays Chicago Homicide Detective Del Spooner. He lives in a world where anthropomorphic robots not quite as advanced as C3PO perform the menial tasks humans no longer want to do; they also act as servants or caregivers to the well-healed. Pathologically hostile toward robots, Spooner assumes the worst of them. His prejudice flies in the face of logic; no crime by a robot has ever been reported worldwide and mankind is protected by the three laws of robotics, hardwired into the firmware that is the kernel of their operating systems. So it’s a remarkable coincidence when Dr. Alfred Lanning’s hologram calls him to investigate Lanning’s apparent suicide, a death that provokes Spooner’s most paranoid suspicions. Lanning (James Cromwell) was the father of modern robotics, the technical genius that created the artificial intelligence systems - the positronic brains - that allow modern robots to function and interact with humans quite socially. The hologram implies that Lanning may have been the victim of robotic foul play.

US Robotics (not to be confused with the modem company) was about to introduce its most advanced robot model. The new NS5 series has the potential to make the richest man in the world, Lawrence Robertson (Bruce Greenwood), even richer. But on the eve of the introduction, Lanning apparently managed to fling himself through a highly resilient safety-glass window of his locked lab high above the USR lobby. The suspicious Spooner quickly uncovers a possible suspect, a robot exhibiting uncharacteristically emotional responses that smack of guilt. And even more strangely, unlike his fellow automatons, this robot refers to itself by name, Sonny (voiced and acted in green-suit by Alan Tudyk). And so begins a perilous investigation that puts Spooner and his reluctant USR ally, Dr. Susan Calvin (Bridget Moynahan), at great risk. They will soon discover that there may be a fatal flaw in the three laws that puts humanity in peril.

Based on the series authored by the brilliant and prolific Isaac Asimov, screenwriters Jeff Vintar and Akiva Goldsman (who last wrote A Beautiful Mind) and director Alex Proyas took great liberties with the plotlines. Little of Asimov’s work remains except for the critical logic of the Three Laws and the flaw that puts mankind at risk. That lovely logic drives the film forward, creating a fusion of murder mystery (another of Asimov’s favorite genres) and science fiction.

Smith’s Spooner is retro; his taste for the previous generation manifests itself in his sneakers, his taste in music and the equipment on which it plays, and his attitude. Like his Agent J in Men in Black, he seems an anachronism in a world of technology that he finds surprising as J or offensive as Spooner. Regardless, Smith carries the film, adding just the right touches of humanity and skepticism so critical to his arc. But that is also his character’s weakness; I found some of his lightness and clever remarks inappropriate to the film noir mood that I felt the filmmakers were striving for. Bridget Moynahan’s Calvin is effectively cold and emotionless, a cyberneticist suffering from an equally intense prejudice, one in which she cannot imagine that any robot could possibly do harm.

The production design is truly impressive. Advanced architecture and technology are credible in this world of a few decades hence. But, the real production design star of the show is Spooner’s Audi; if that’s what a future TT is going to look like, accept my order now. I wonder how much Audi had to pay for product placement? Proyas maintains a brisk pace, pausing just long enough for logical exposition to keep the underlying premise of the film totally intact. This is a delightful romp that doesn’t offend the sensibilities.

The Video: How Does The Disc Look?

The film’s theatrical aspect ratio of 2.35 is presented in anamorphic video. This is another lovely video presentation from Fox. Virtually halo free, the images offer great small object detail and revealing fine textures. CGI seem to be getting better and better; the vast number of such special effects shots are seamlessly integrated into the images. Shadow detail is outstanding. Color rendition is first-rate, with very natural flesh tones and bright, vivid, noise-free primary colors. The disc is a pleasure to watch. My, how far Fox has progressed since the soft, halo infested Phantom Menace. Nicely done.

The Audio: How Does The Disc Sound?

There are two 5.1 tracks on this DVD, one in Dolby Digital and the other in DTS. Each decodes beautifully with EX enabled, broadening the surround field and providing an extra layer of sensory pleasure from the surround effects; both discrete and ambient sounds immerse the viewer. Exceptionally deep bass is present that will challenge your subwoofer. Sound effects have a gratifying dynamic range and swift attack times, adding to the visceral impact of the tracks. The moody and action oriented score by Marco Beltrami is performed by an orchestra that seems spread beyond the confines of the front speakers. The dialog remains distortion-free throughout. The inevitable comparison between the two tracks once again gives the edge to DTS with its subtle improvements in musical timbre and voices.

The alternate languages are in French and Spanish, both presented in Dolby Surround 2.0. The audio is supported by optional subtitles in Spanish and English, for which Closed Captions are also included.

Supplements: What Goodies Are There?

The first and best supplement is a feature-length commentary by director Alex Proyas and screenwriter Akiva Goldsman, recorded six weeks before the film’s theatrical release - another indication of how DVD has become an integral and essential profit center for the film studios. Goldsman spends entirely too much of his time describing the nature of the story and it evolution, the liberties taken with the characters, motivations and plotlines. Proyas is more interesting; he talks about the production, his artistic intent, filming technique, and his efforts to stay true to Asimov.

Among the remaining modest supplements on this DVD is a featurette entitled The Making of I, Robot (12:35). Predominantly a fluffy description of the film, its plotline and characters, we don’t get to the interesting stuff until the last five minutes or so. It’s here that we learn that robotic performances were captured in the same manner as that used by Peter Jackson for Gollum in Lord of the Rings. I was left wanting more.

The Still Gallery is a collection of concept drawings for the robots and photos from the shoot. And then there is a promo for the droll Fox sitcom Arrested Development.

On the Main Menu Screen, there is also a link to Inside Look where you’ll find a trailer for the Brad Pitt and Angelina Jolie vehicle, Mr. and Mrs. Smith (1:48), a short for the next Fox CGI animated film, Robots, hosted by director Chris Wedge (Ice Age), and a promo for the imminent Elektra (5:52, aggregate).

The 114-minute feature film is organized into thirty-nine chapters.

Exclusive DVD-ROM Features: What happens when you pop the disc into your PC?

There are no DVD-ROM features on this DVD.

Final Thoughts