2010
1984 Directed by Peter Hyams
Synopsis
The year a small group of Americans and Russians sat out on the greatest adventure of them all... to see if there is life beyond the stars.
A joint American-Soviet space expedition is sent to Jupiter to learn went happened to the U.S.S. Discovery against a backdrop of growing global tensions. Among the mysteries the expedition must explain are the appearance of a huge black monolith in Jupiter's orbit and the fate of H.A.L., the Discovery's sentient computer.
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2001: A Space Odyssey is both a brilliant work of science fiction and a prime example of the cinematic medium as art. 2010: The Year We Make Contact is a faded velvet matador painting, bolted to a wall in a dirty Reno hotel room where hookers go to fuck.
Alright, maybe it isn't as bad as all that but it's no Kubrick master stroke. The catch-22 here is that 2010 is best judged as a stand-alone movie on its own merits yet, one that is inextricably linked to the first, genius film. After about the first 10-15 minutes, if you can get beyond the fact that Roy Scheider's Heywood Floyd bears no resemblance to William Sylvester's original portrayal, you can…
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Sensationalist subtexts of the US and Soviet unease are incorrigibly added in this post-Star Wars boom fest. A cringing comicality introduces us to these diplomatic tensions with Scheider and Elcar's space mission banter on what has happened to the Discovery. And unfortunately, these cold war relations continue until the very end and culminate with Helen Mirren's very eighties Russian astronaut. So if you can neglect all of that wishy-washy dialogue and futile comparisons to the infinitely superior 2001, there's actually an honourable science fiction stand-alone work grounded in some realism. In terms of the salient orange hues which confine Hyams' boundless vision, this film arcs back to old-school lo-fi where simplistically spare exterior shots are able to create something grandiose.…
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More happens in the first 15 minutes of this movie than happened in the entirety of 2001. This movie doesn't have the hypnotic allure of Kubrick's original, but it feels more like an actual film, with a plot and characters and dialogue and progression, and there's something to be said for that.
Were this the sequel to almost any other film, it would likely feel somewhat slow and deliberate, but compared to its predecessor, this film moves at breakneck speed. There are some great performances (I almost didn't recognize Helen Mirren as a russian cosmonaut and Bob Balaban is terrific), but it's such a jarring change of pace from what came before. Politics are front and center; where the first…
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My God, it's full of shit!
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I couldn't finish it. I am a HUGE fan of 2001, and I put off watching this film because I kind of knew what to expect.
Problems:
(1) The cold war? Sure when they made the film ERRYTHING was about USA v USSR, but to see it today in a film that ultimately should have nothing to do about world politics is off-putting.
(2) Sound in space. The first film nailed it. There are no swooshing, rumbling, or clunking sounds in the vacuum of space.
(3) Wires! In the first special effect shot that was not straight lifted from the original, wires on the model are clearly visible. It was at this point that I turned off the movie and felt lucky to have saved the remaining hour-plus of my life to do with what I will. -
One of the best and most underated hard sci-fi movies ever made.
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Not as awe-inspiring or beautiful as the first film but a good adaptation of the novel. A little light on the characterization though.
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While obviously dwarfed by the majestic 2001, 2010 remains a very effective sci-fi movie. It continues the lofty themes touched on in Kubricks masterpiece, and adds some enjoyable action set pieces. The scenes with Dave Bowman ( both contacting his wife and talking to Roy Scheider ) always make the hairs of my neck stand up.
Recommended -
It's not a patch on 2001, but if you can separate it in your mind - which is really hard as every other scene seems to yell HEY REMEMBER 2001 WASNT THAT GREAT - this is a perfectly serviceable sci-fi movie.
The best way to describe it is this: Even with the name, 2001 is a timeless movie. This is rooted in 80s cold war fiction, and offers no real deeper meanings beyond that.
But trust me, you could do worse.
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My God, it's full of shit!
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Say what you will about 2010 being not-Kubrick but it's still better than so much of what passes off as sci-fi these days. Respectable, underrated effort from Hyams.
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Now this is how you do a sequel. People are to quick to judge this movie just because it's a sequel to 2001: A Space Odyssey. Many didn't even give it a chance. Personally, I would've been one of those people to pass on it if I was in the same time period.
But that would be a big mistake in this case. This movie may not be quite as epic or in as large of a scale as 2001, but by God is it good at being its own movie. It's like what James Cameron did with Aliens. He didn't try a copy-paste of the prequel, he made it his own thing, his own movie, giving it a look…
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Hurm. Why do I do this to myself.
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Sensationalist subtexts of the US and Soviet unease are incorrigibly added in this post-Star Wars boom fest. A cringing comicality introduces us to these diplomatic tensions with Scheider and Elcar's space mission banter on what has happened to the Discovery. And unfortunately, these cold war relations continue until the very end and culminate with Helen Mirren's very eighties Russian astronaut. So if you can neglect all of that wishy-washy dialogue and futile comparisons to the infinitely superior 2001, there's actually an honourable science fiction stand-alone work grounded in some realism. In terms of the salient orange hues which confine Hyams' boundless vision, this film arcs back to old-school lo-fi where simplistically spare exterior shots are able to create something grandiose.…
-
2001: A Space Odyssey is both a brilliant work of science fiction and a prime example of the cinematic medium as art. 2010: The Year We Make Contact is a faded velvet matador painting, bolted to a wall in a dirty Reno hotel room where hookers go to fuck.
Alright, maybe it isn't as bad as all that but it's no Kubrick master stroke. The catch-22 here is that 2010 is best judged as a stand-alone movie on its own merits yet, one that is inextricably linked to the first, genius film. After about the first 10-15 minutes, if you can get beyond the fact that Roy Scheider's Heywood Floyd bears no resemblance to William Sylvester's original portrayal, you can…