The following are movie reviews of "I-Robot," "The Blind Swordsman," "The Bourne Supremacy," and "Catwoman."

'I, Robot' is entertaining sci-fi mystery

As author Orson Scott Card once observed, "science fiction is one of the few remaining realms of modern culture where serious theological and philosophical reflection can still be practiced."

In "I, Robot" (20th Century Fox), a sleek techno-thriller loosely inspired by a collection of short stories by Isaac Asimov, director Alex Proyas poses the question of whether technology will one day bite the hand that designed it.

The film is set in Chicago in the not-so-distant future. Will Smith plays Detective Del Spooner, a maverick cop with technophobic tendencies and "vintage" tastes -- here meaning Converse high-top sneakers, circa 2004. The hybrid sci-fi mystery opens in 2035, when a subservient robotic work force has been integrated into every aspect of society, from walking dogs to delivering FedEx packages.

The cyber-cynical Spooner is called in to investigate the apparent suicide of a renowned robotics specialist, Dr. Alfred Lanning (James Cromwell), who allegedly jumped to his death on the eve of the monolithic U.S. Robotics Corporation's rollout of its newest model, the NS-5 automated domestic assistant.

For reasons not initially clear, Spooner is adamantly skeptical of the company's claim that their robots are hard-wired for cheerful obedience. His gut tells him that Lanning did not take his own life, but was murdered by one the metallic masses he helped create, a hunch that doesn't sit well with USR's honcho (Bruce Greenwood). His suspicions lead him to a reflective droid named Sonny (voiced by Alan Tudyk), who is suffering existential angst.

Bridget Moynahan plays Dr. Susan Calvin, a robot psychologist who tries to dispel Spooner's paranoia by assuring him that the 'bots are programmed to serve and protect. She reminds him that they are bound by "the first law of robotics," which states, "A robot may not injure a human being." But as Spooner follows his leads to their all-too-logical conclusion, he discovers that laws, like rules, are made to be broken.

Smith is appealing as the likable Luddite, injecting sensitivity and cocky sarcasm into what could have been a humorless role. But the show belongs to Sonny, the computer-generated robot, who -- together with Gollum in "The Lord of the Rings" trilogy -- makes a strong case for a new Oscar category: "best computer-generated performance."

Proyas eschews the noirish atmospherics of past works like "Dark City" and "The Crow" in favor of more techno-realism, integrating Orwellian elements -- such as USR's glass citadel and subterranean super-speedways -- into his canvas of everyday life, which does not look all that much different from the world as we know it. The result is a believable futurescape that is both boldly visionary yet strangely familiar.

Taking what is essentially a murder mystery and dressing it up in $100 million worth of cutting-edge special effects, Proyas keeps the narrative briskly paced and never lets the thrill-ride centerpieces overwhelm the story. However, the film unravels a bit during the protracted climax, succumbing to the siren song of budget-justifying excess.

Despite the fact that most of the gunplay is directed at the rampaging robots, some parents may find the film's video-game brand of violence off-putting. Given the film's PG-13 rating, they may also question the inclusion of a scene, which though not explicit, shows a naked Smith taking a shower. Apparently shower curtains no longer exist in 2035.

Fans of Asimov may be disappointed to hear that "I, Robot" strays far from its source material, bearing only the slightest thematic resemblance to the short stories. Still, for a popcorn movie, it navigates some surprisingly thought-provoking terrain, though many of its ruminations about artificial intelligence and the ensoulment of technology remain philosophical carrots, dangled tantalizingly but never fully explored.

"First law of summer movies:" You must entertain humans. "I, Robot" does just that.

Due to intense action violence, two brief shower scenes with shadowy profile nudity and recurring crass language, the USCCB Office for Film & Broadcasting classification is A-II -- adults and adolescents. The Motion Picture Association of America rating is PG-13 -- parents are strongly cautioned. Some material may be inappropriate for children under 13.

-- David DiCerto

The Blind Swordsman: Zatoichi (Miramax)
Stylish but gory revenge tale set in 19th-century Japan about a wandering, blind blade-master (Beat Takeshi) who uses his lethal sword skills to rid a small farming village of a gang of ruthless bandits. Incorporating cross-genre elements as diverse as vaudevillian slapstick and hip-hop dance, Takeshi -- who also wrote and directed the film under the name Takeshi Kitano -- gives the classic samurai tale a jazzy makeover, which, though chock full of blood-splattered swordfights, is not without moments of beauty, emotion and humor. Stylized action violence with associated gore, brief suggestion of child prostitution, a suicide, cross-dressing references and some crude language and humor. Subtitles. The USCCB Office for Film & Broadcasting classification is L -- limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is R -- restricted.

The Bourne Supremacy (Universal)
Frenetic follow-up to "The Bourne Identity," about Jason Bourne the CIA amnesiac assassin (Matt Damon), pursued around Europe by CIA operatives and a Russian hit man, while struggling with disturbing memories of a violent incident in which he may have played a part. Fine performances by Damon and a supporting cast including Joan Allen and Brian Cox, though extremely fast editing and episodic storytelling take this a couple of notches below the excellence of the first film. Scenes of intense action violence and a brief instance of crude language. The USCCB Office for Film & Broadcasting classification is A-III -- adults. The Motion Picture Association of America rating is PG-13 -- parents are strongly cautioned. Some material may be inappropriate for children under 13.

Catwoman (Warner Bros.)
Slick but soon-to-be-forgotten tale, loosely inspired by the comic-book character, about a mousy graphic artist (Halle Berry) working for a cosmetic conglomerate (headed by Lambert Wilson and Sharon Stone), who is killed for happening upon a corporate cover-up, only to be reborn with superpowers, including catlike agility and stealth, which she uses to unleash her feline fury on her murderers. As directed by Pitof, neither slick visual effects nor Berry strutting her stuff in revealing skintight shredded leather can distract viewers from the film's shallow characterizations, clumsy dialogue and moral ambiguities. Recurring stylized violence and an implied sexual encounter. The USCCB Office for Film & Broadcasting classification is A-III -- adults. The Motion Picture Association of America rating is PG-13 -- parents are strongly cautioned. Some material may be inappropriate for children under 13.

David DiCerto is on the staff of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops.