The Chicago of 2035 is a very different world to that of today. Technological advancements mean that robots are now employed to undertake all the tasks that human beings no longer deem appropriate. Robots take the dogs for a walk. They collect the shopping and empty our refuse bins. They are everywhere and they are accepted as a normal part of human society due largely to their programming with three basic laws. They must never harm a human. They must always obey orders from human beings unless there is conflict with the first law. Thirdly, they should protect themselves from harm, unless this conflicts with laws one or two. These laws remain unbroken and humans and robots co-exist according to man’s definition of harmony.

When Spooner is called to the headquarters of the world’s main supplier of robots, he is shocked to discover that his friend, Dr Alfred Lanning – designer of the world’s robotic technology – has apparently committed suicide. The only clue to the man’s death is a holographic projection, recorded shortly before his death, prompted to speak only by Spooner and even then only able to answer certain questions. Whilst everyone else immediately accepts that Lanning’s death was a simple suicide, Spooner is not convinced and much to the dismay of the company’s Chief Executive, Lawrence Robertson, he sets about investigating the death. It is a true mystery. Lanning apparently leapt from a window in the company’s prestigious headquarters, seemingly without motive. With no clues of suspicious circumstances, Spooner is unable to find anyone who accepts his reservations that this was not in fact suicide.

“I, Robot” is one of those cinematic surprises that come along every now and again. I expected something good, but found something outstanding. I probably enjoyed watching this film more than any other I have seen this year or last – and if I’m saying that, then you know you’re on to a good thing.

I loved the director (Alex Proyas) and his vision of the future. Having previously worked on The Crow and Dark City, I knew that Proyas was adept and imaginative but his efforts here are inspired. Unlike other science fiction movies, the futuristic setting feels and looks right. The city landscape is impressively advanced and yet reassuringly familiar. With most science fiction films, the future is portrayed as being so completely different from the present that it might as well be a completely different planet, but with this film this is not the case. The streets are still dirty. There is still graffiti on the walls. People still put their refuse out in trashcans. But along the way, the advent of technology is also everywhere. The robots walk amongst the humans as though they have always been there. Huge, looming skyscrapers dominate the skyline and the highways are transformed into enormous, sprawling masses of high-speed automatic cars. It feels “right”. I hate directors whose vision of the future is that humans will discard everything from the past and give up fashion in return for technology. “Minority Report” is a good example of a film where technology seems to be injected for the effect of the film, rather than an attempt to seriously see into the future. I Robot gets it right on all scores.

I, Robot is also strangely moving. I really felt that there was a point to the whole thing. The film examines several themes, looking at prejudice, the human condition and evolution but the subject matter is handled in a genuinely sensitive way and I have to say that I felt quite touched by certain scenes in the film. The obvious portrayal of the way that mankind abuses the planet is evident but it is the treatment of the robots that seemed to have the most impact. In the film, the previous range of robots (NS4) is being replaced with a new range of super-advanced robots (NS5). There was something very poignant about the way in which lorry loads of the new range were wheeled out, the replaced robots simply grabbed by huge mechanical arms, a look of artificial fear brandished across their faces as they disappeared into the darkness. It is certainly difficult to feel any sympathy for the inevitable fate of the humans and the climax of the film is ultimately quite beautiful.

I, Robot will certainly mark the return of Will Smith to the top of the popularity charts. Despite never having been a huge fan of Big Willie, I have to say that he works really well in this. The cocky arrogance of the Fresh Prince has gone and I quickly warmed to the more sensitive, compassionate side that he showed in this film. The humour is still there - he is still very much the maverick – but it is all very appropriate and a far cry from Bad Boys. Bridget Moynahan (The Recruit) is also on top form, perfectly making the transition from cold, lifeless bitch to heroine in distress. There is chemistry between the two, but no real love interest and the pairing works well from start to finish. James Cromwell takes a break from playing presidents and does a turn as the late Alfred Lanning and Bruce Greenwood is sneeringly good as chief executive, Lawrence Robertson.