than most of Kubrick's films. Roger Ebert awarded it 3.5 out of 4 stars, comparing the structure to a thriller and writing that it is "like an erotic daydream about chances missed and opportunities avoided", and thought that Kubrick's use of lighting at Christmas made the film "all a little garish, like an urban sideshow". Stephen Hunter of The Washington Post disliked the film, writing that it "is actually sad, rather than bad. It feels creaky, ancient, hopelessly out of touch, infatuated with the hot taboos of his youth and unable to connect with that twisty thing contemporary sexuality has become." Unfinished and unrealized projects A.I. Artificial Intelligence Throughout the 1980s and early 1990s, Kubrick collaborated with Brian Aldiss on expanding his short story "Supertoys Last All Summer Long" into a three-act film. It was a futuristic fairy tale about a robot that resembles and behaves as a child, and his efforts to become a 'real boy' in a manner similar to Pinocchio. Kubrick approached Spielberg in 1995 with the AI script with the possibility of Steven Spielberg directing it and Kubrick producing it. Kubrick reportedly held long telephone discussions with Spielberg regarding the film, and, according to Spielberg, at one point stated that the subject matter was closer to Spielberg's sensibilities than his. Following Kubrick's 1999 death, Spielberg took the drafts and notes left by Kubrick and his writers and composed a new screenplay based on an earlier 90-page story treatment by Ian Watson written under Kubrick's supervision and specifications. In association with what remained of Kubrick's production unit, he directed the movie A.I. Artificial Intelligence (2001) which was produced by Kubrick's longtime producer (and brother-in-law) Jan Harlan. Sets, costumes, and art direction were based on the works of conceptual artist Chris Baker, who had also done much of his work under Kubrick's supervision. Spielberg was able to function autonomously in Kubrick's absence, but said he felt "inhibited to honor him", and followed Kubrick's visual schema with as much fidelity as he could. Spielberg, who once referred to Kubrick as "the greatest master I ever served", now with production underway, admitted, "I felt like I was being coached by a ghost." The film was released in June 2001. It contains a posthumous production credit for Stanley Kubrick at the beginning and the brief dedication "For Stanley Kubrick" at the end. John Williams's score contains many allusions to pieces heard