A family heads to an isolated hotel for the winter where an evil spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action, while attempting to liberate a twelve-year-old prostitute.
Robert De Niro,
After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
"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
Frank Poole and Dave Bowman watch themselves in a television interview on "BBC 12". This was a play on the fact that, at the time of production, there were only BBC channels 1 and 2. The presenter in this scene is Kenneth Kendall, the first newsreader seen on British TV in 1955. See more »
When the moon monolith, which has been buried for millions of years, is struck by sunlight, it transmits its message to Jupiter, notifying its creators that humans must have evolved to point of space travel. But given that unfiltered sunlight on the moon is extremely destructive, even without knowing about the impending transmission the humans probably would have built a structure around the excavation site to protect whatever they found from direct sunlight. See more »
The original theatrical release had Ligeti's Atmospheres to a black screen for roughly 8 to 10 minutes before the movie began, and Strauss' The Blue Danube well after the end credits to a black screen. See more »
There are two schools of thought about 2001: A SPACE ODYSSEY. One, is that it is the greatest science-fiction epic ever made. This is supported by those who claim to understand the complexities involved and leading up the Star Child ending. The others, like myself, find it as absorbing as watching paint dry on woodwork.
The musical background is glorious, the colors are dazzling, and there's an interesting use of HAL as a villainous computer. Beyond that, there is nothing the least bit interesting about the human characters (trite dialogue and no personality or warmth to any of the individuals), the pace is unbelievably slow (so the intellectually gifted can philosophize on the mysteries of space), and the payoff at the end leaves you either breathless with enlightenment or convinced that you have watched three hours of nothingness.
I had the same letdown feeling when I watched THE CLOCKWORK ORANGE, so your like or dislike of this movie is purely dependent on personal taste. Intellectuals will take the position that you are a mentally challenged clod if you dare disagree with their elevated opinion of the movie--so be aware that this is not conventional story-telling in any sense whatsoever and only for those who admire Stanley Kubrick's way with unlikely cinematic material.
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