We're meant to feel for David, but I think most of us would be a little freaked out by living in a world with that many human-like robots, so I can see the logic in getting rid of them too. But then they use a child's guise to tug your heart strings and manipulate you.
shareOn one hand, the audience's empathy for David mirrors their own. Here is a story about "hopeless human attachment and our bottomless capacity for self-delusion" (Kreider, 2002). He is exploited by his creators, abused by his brother, mistrusted by his father, abandoned by his mother, and nearly executed for amusement.
Yet on the other hand, one cannot help but feel a strong sense of ire toward David. If he mirrors humans, as the film makes allusions to (e.g., opening mecha and Monica; David with Martin), then what does his relentless pursuit say about agency and our own blind chasing? David is as preoccupied with his hopeless and fixed dream of an unrequited love as much as Monica and Professor Hobbs are preoccupied with theirs. Dr. Hobby creates David in the image of his son, so that he may love him. Monica substitutes Martin with David, in the hopes that he will love her. In the end, David opts for a simulated love with a fake Monica, in the self-delusion that she will love him, completing the desolate cycle.
The depiction of love as a token of artificiality asks us whether or not we are the same deterministic models as David, blindly chasing unconscious goals.
There was a bit in this film where he fell in some water and then a voice over comes on and does this terrible exposition to push the story on to where it needed to go next.
At least that's how I remember it. It was spellbindingly bad, really jaw dropping seeing something so ham fisted.