In future Britain, charismatic delinquent Alex DeLarge is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
A mentally unstable Vietnam war veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
"2001" is a story of evolution. Sometime in the distant past, someone or something nudged evolution by placing a monolith on Earth (presumably elsewhere throughout the universe as well). Evolution then enabled humankind to reach the moon's surface, where yet another monolith is found, one that signals the monolith placers that humankind has evolved that far. Now a race begins between computers (HAL) and human (Bowman) to reach the monolith placers. The winner will achieve the next step in evolution, whatever that may be. Written by
"Thus Spake Zarathustra" is the only musical piece in the film whose conductor and orchestra are not mentioned in the closing credits. For all other pieces, the orchestra which plays it, and the conductor who leads it, are given screen credit. See more »
I normally keep my movie thoughts to myself but this movie affected me to the point of voicing myself out.
Movies are typically evaluated via (i) more/less objective attributes (plot, ideas, action, cinematography, etc.) and (ii) emotional impressions they leave. While the latter is extremely personal and diverse, some convergence can be achieved in the former. Unfortunately, this piece greatly fails in it: no plot, no original ideas, no action, horrible cinematography, and a very repetitive soundtrack. As far as the emotional impression goes: well, in my case, it gave me a highly unpleasant aftertaste: a very pretentious schizophrenic nightmare...
Why is it so overrated then? I'd hypothesize that it is for the same reason as in the case of Malevich's "Black Square". When one sees something a piece of "art" of that type, there seem to be two typical reactions: (i) "There is nothing there, it is junk." and (ii) "There is nothing there but it must be great because everyone else thinks it's great. Then it must be an art." So what created this mob fame effect for this movie? I don't know for sure but it might have been the big names of S.Kubrick and A.Clark. Once such a "snowball" starts rolling down the hill and picks up the momentum, it is more difficult to stop it than to roll with it.
Please trust your own independent feelings. Things don't become better because a million of other people say they are brilliant. Cheers.
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