I also won't complain about the inclusion of stuff like teleportation or mind-reading robots, because this is science fiction. The idea that people would be resistant to a robot president is somewhat more understandable Asimov wrote that idea as an allegory for anti-Semitism and it's obviously true that prejudice has been far from conquered. From the perspective of the year 2012, when we're nuts about self-driving cars and the like, it's tough to imagine mobs of people getting angry enough about automation to go on a robot pogrom.

The screenplay does show its late-70s vintage somewhat in how there are scenes that have a Terminator or Blade Runner vibe, and it also exposes the age of the original stories. Overall I thought it was a very good and spiritually faithful rendition, especially in Calvin's relationships to robots and her defense of them as being more moral than people. Calvin's character is much more at the forefront her personality has been given more detail, most notably an interest in Amazonian archaeology

There's a Citizen Kane-ish frame narrative about a reporter investigating a possible relationship between Susan Calvin and Stephen Byerley Byerley has also been given a backstory as a John Connor-ish freedom fighter before he became President, as well as a deeper connection to Calvin There are some aliens, which is unusual given their scarcity in Asimov's works, but their alienness is irrelevant and you could mentally swap them for people with no difference to the story The stories Reason, Catch That Rabbit, and almost everything after Little Lost Robot are omitted, which sucks from a completion standpoint but are understandable from a filmability perspective (even I wouldn't really be too interested in a movie version of stuff like Escape!) The points of deviation are minor and excusable, for the most part: He turned a somewhat loose collection of short stories into a coherent story, keeping an impressive amount of the material and characterization from the original works and even managing to emphasize Asimov's points about prejudice and morality. Ellison may be a notorious jerk in the sci-fi world (see the decades of controversies over the infamously unpublished anthology The Last Dangerous Visions, or even the somewhat self-aggrandizing introduction to this volume), but his screenplay for Isaac Asimov's classic ended up being really good.

I robot the illustrated screenplay