影片根据艾萨克·阿西莫夫经典科幻短篇小说集《我，机器人》改编。故事发生在2035年，科技已经发展到相当高的水准，尤其是智能机器人领域，他们已经完全融进了人类的各种生产和生活中。在机器人三大法则（机器人不得伤害人，或任人伤害而无所作为；机器人应服从人的一切命令，但命令与第一法则冲突时例外；机器人必须保护自身的安全，但不得与前两条法则抵触。）的保护下，人们对机器人的依赖到了“如痴如醉”的地步。但是，在纽约发生的一宗命案，让人类的处境变得极其危险……在排除掉所有的重点嫌疑人之后，机器人索尼被列为重点怀疑对象，所有人都不敢接受这个事实，但警探德尔却深信自己的直觉，决定单独调查此案。过程中，德尔惊奇地发现了机器人们的惊天秘密———他们已经策划着如何使自己的主人人类在这个星球上消失、灭绝！于是，在好友的帮助下，德尔开始了他唤醒人类自救的艰苦历程…… Composer Marco Beltrami has been the go-to guy for the horror/suspense genre since Guillermo del Toro's Mimic in 1997, so it's no surprise that he sounds so comfortable on his first foray into sci-fi with Alex Proyas' I, Robot. Similar to his score for del Toro's Hellboy, Beltrami utilizes bombast like it's emanating from the baton itself. His tendency to over-utilize heavy percussion sometimes gets in the way of the melody, but this is a Will Smith summer action movie so it's fitting -- thankfully, there is no lame Smith-jam over the credits. I, Robot isn't del Toro's best work -- that would be his excellent minimalist score for the Owen Wilson serial killer drama The Minus Man -- but it complements the material nicely, resulting in a serviceable but eventually forgettable entry into the realm of blockbuster fly-by's.