History will place an asterisk next to A.I. as the film Stanley Kubrick might have directed. But let the record also show that Kubrick--after developing this project for some 15 years--wanted Steven Spielberg to helm this astonishing sci-fi rendition of Pinocchio, claiming (with good reason) that it veered closer to Spielberg's kinder, gentler sensibilities. Spielberg inherited the project (based on the Brian Aldiss short story "Supertoys Last All Summer Long") after Kubrick's death in 1999, and the result is an astounding directorial hybrid. A flawed masterpiece of sorts, in which Spielberg's gift for wondrous enchantment often clashes (and sometimes melds) with Kubrick's harsher vision of humanity, the film spans near and distant futures with the fairy-tale adventures of an artificial boy named David (Haley Joel Osment), a marvel of cybernetic progress who wants only to be a real boy, loved by his mother in that happy place called home.

Echoes of Spielberg's Empire of the Sun are ...

Legendary police commissioner Niémans (Jean Reno) travels to a remote university village in the Alps to solve a grisly murder while hotheaded Lieutenant Kerkerian (Hate's Vincent Cassel) is investigating the desecration of the tomb of a young girl killed in an auto accident 20 years ago. When the detectives discover that the incidents are related, they reluctantly join forces. The Crimson Rivers looks French but feels American. If it doesn't hit the heights of The Silence of the Lambs or Seven, it bests many of the thrillers that have followed in their wake. Mathieu Kassovitz directs as if this were high art, which is actually to the film's benefit: the cast is terrific (including Jean-Pierre Cassel, Vincent's father), the cinematography is stunning, and the classy score evokes The Exorcist. Although the mountaintop showdown at the end doesn't quite work, The Crimson Rivers is still a superior entrant into an increasingly overcrowded genre.