❤Don't give up, the beginning is always the hardest!❤不要放弃，开始的部分总是最难的！
If the whole world betrays you,I'm gonna betray the whole world for you. 即使全世界都背叛你，我也会站在你身边背叛全世界。
Sometimes, you just have to pretend that you are happy just to stop everyone from asking you what the hell happened——有时候，你不得不假装很快乐，只是为了不让别人问“你怎么了？”Sometimes our hearts just need time to accept what our heads already know——有时候，虽然能想明白，但心里就是接受不了。
Sometimes, smiles are like band-aids. They cover up the pain but it still hurts. 有时候，微笑就像创可贴。虽然掩饰住了伤口，但是心痛依然。
Never lie to someone who trusts you. Never trust someone who lies to you. ❤对那些相信你的人，不要撒谎；对那些骗你的人，不要相信。
Live in the moment, because every second you spend angry or upset is a second of happiness you can never get back.. ❤活在当下吧。因为你用来生气或沮丧的每一秒钟，都是你遗失的快乐，找不回来。
Ordinary people merely think how they shall spend their time; a man of talent tries to use it.❤普通人只想到如何度过时间，有才能的人设法利用时间。
And from now on, I'll never look back at the things I had and what I lost now . ❤从现在起，我将不再念念不忘那些已经失去的东西。
There are so many beautiful reasons to be happy. ❤总还是有那么多美好的原因，让我们快乐。
Every exit is an entrance to somewhere else. ❤每个出口，都是通往另一处的入口。Expectations were high, perhaps unreasonably so, for A.I., the first - and only - movie to bear the monikers of cinematic heavyweights Stanley Kubrick and Steven Spielberg. Yet, while A.I. is consistently involving, and has moments of near-brilliance, it is far from a masterpiece. In fact, as the long-awaited "collaboration" of Kubrick and Spielberg, it ranks as something of a disappointment. Plus, the movie may end up falling short of the industry pundits' high box office predictions. A.I. should do sufficiently well to join the $100 million club, but it is unlikely to possess the clout necessary to outpace a certain rampaging animated ogre.
By now, the story behind A.I. is well-known. Kubrick had been nursemaiding this project along for almost two decades, awaiting the time when technology could produce visual effects at the level demanded by his perfectionism. Over the years, he spoke in some detail with Spielberg about A.I., and, after his death, Spielberg decided to shepherd the project to completion. To that end, he attempted to wed his own style to Kubrick's. The late master's name appears in the opening credits (the movie is presented as "An Amblin/Stanley Kubrick Production"), and Kubrick's
brother-in-law and long-time executive producer, Jan Harlan, is listed as one of two Executive Producers.
I can't help but wonder if the inherent conflict in Kubrick and Spielberg's life views is the reason why A.I. seems so disjointed and uneven. Kubrick had a dim, cynical view of human nature. (What else could one say about the man behind A Clockwork Orange and Eyes Wide Shut?) Spielberg, on the other hand, is an optimist. A.I. shows both sides, and not always to good effect. It is at times life-affirming and positive; at others, cold and grim. The film's final half-hour is a curiosity, and not a successful one - a prolonged, needless epilogue which force-feeds us a catharsis that feels as false as it is extraneous to an otherwise fine story. There is no doubt that the concluding 30 minutes are all Spielberg; the outstanding question is where Kubrick's vision left off and Spielberg's began.
A.I. is a science fiction re-interpretation of "Pinocchio" (a story the film frequently references) crossed with "Frankenstein". Events take place in a futuristic setting, where the rise of the oceans has swallowed up seaside cities like New York and Amsterdam, where New Jersey resembles an Amazon rain forest, and where the sin-and- center of the planet is a place called Rouge City, which resides across the Delaware from New Jersey (perhaps this is what becomes of Philadelphia). This future, as imagined by Spielberg and his set designers, is every bit as awe-inspiring as what Ridley Scott brought to the screen in Blade Runner and what Luc Besson crafted for The Fifth Element. Rouge City is stunning, and the waterlogged ruins of Manhattan are hauntingly beautiful.
The story centers around David (Haley Joel Osment), a child substitute "mecha" who represents the first of his type - a synthetic who can actually love. In this case, the object of his incompletely-understood emotion is his "mother", Monica Swinton (Frances O'Connor). Monica's husband, Henry (Sam Robards), who brought David home as a pilot project from his workplace, Cybertronics of New Jersey, is more wary of the robot child. And, when one of David's actions endangers Monica and Henry's natural son, Martin (Jake Thomas), Monica is forced to take David into the woods and "lose" him. He is quickly found by a group of anti-robot fanatics, and, while being held captive by them, he befriends Gigolo Joe (Jude Law), who becomes an invaluable ally in his escape.
Like the real-life science surrounding the development of Artificial Intelligence, the movie is top-heavy with moral and ethical questions. What is life and where is the line that divides sentience from a programmed response? If a robot can genuinely love a person, what
