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.
After a space merchant vessel perceives an unknown transmission as distress call, their landing on the source moon finds one of the crew attacked by a mysterious lifeform. Continuing their journey back to Earth with the attacked crew having recovered and the critter deceased, they soon realize that its life cycle has merely begun.
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
Stanley Kubrick was initially forced by MGM to have Alex North (who had written the score for Kubrick's Spartacus (1960)) compose an original score for this film. Kubrick, however, always intended to use classical music for the film. He allowed North to score the first half of the film before informing him they planned to use only sound effects for the second half. It wasn't until he was watching the film at its premier in New York that North discovered that his music had not been used. He later reused themes composed for this film in The Shoes of the Fisherman (1968), Shanks (1974) and Dragonslayer (1981). North's original score was unheard for 25 years until composer Jerry Goldsmith re-recorded it for Varese Sarabande in 1993. In 2007, however, Intrada, working with North's estate, released North's personal copies of the 1968 recording sessions on CD. See more »
When David Bowman re-enters Discovery he uses the right "hand" of the pod to rotate the manual lift control for the pod bay door. While it it possible for this to work with the pod's thrusters compensating for the rotational torque, it would be more efficient if there were a left "handhold" to keep the pod from rotating around the control, instead of spinning the pod around. See more »
Tribute to one of the top 5 filmmakers of our time...
I write this review just after hearing of Stanley Kubrick's death. It's a great loss, and I write about 2001: A SPACE ODYSSEY, because I feel it is the consummate Kubrick film, the one he will be most remembered for. It is a picture like no other, not only revolutionizing science fiction, but changing the way films are conceptualized. It was probably America's first 'art' film and has inspired the likes of George Lucas and countless other writers and directors.
Aside from its visual greatness, the reason the film spawns so much discussion and analysis is because so many people have so many different interpretations of it. Kubrick and Arthur C. Clarke, his co-writer, had a vision, but we have never really found out what was going through their minds. Of course, the skinny on its 'message' is how technology of the future will take over humanity and decide the course of our lives unless we are careful. 2001's ending is one of hope, a version of our rebirth through the star-child's flight back to earth. It is meaningless to many, but discerning filmgoers will understand.
Although 2001 does not have the wicked, dark humor of DR. STRANGELOVE or CLOCKWORK ORANGE, or contain strong, eccentric characters that filled his earlier works like PATHS OF GLORY or SPARTACUS, I still feel he would've liked to be remembered most for this. If anything, HAL will be his most memorable character, dangerous, murderous, and artificial. It was a half-decade in the making at a time when Hollywood was still churning out dull musicals and just waking up to the New Wave of French and Italian cinema. Kubrick was a maverick director who made great films on his own terms, his own time, and for everyone else to marvel at. He will be missed.
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