Synopsis
The Ultimate Trip.
Humanity finds a mysterious object buried beneath the lunar surface and sets off to find its origins with the help of HAL 9000, the world's most advanced super computer.
1968 Directed by Stanley Kubrick
Humanity finds a mysterious object buried beneath the lunar surface and sets off to find its origins with the help of HAL 9000, the world's most advanced super computer.
Keir Dullea Gary Lockwood William Sylvester Douglas Rain Daniel Richter Leonard Rossiter Margaret Tyzack Robert Beatty Sean Sullivan Frank Miller Ed Bishop Edwina Carroll Heather Downham Penny Brahms Maggie d'Abo Chela Matthison Judy Kiern Alan Gifford Ann Gillis Vivian Kubrick Kenneth Kendall Kevin Scott Martin Amor Bill Weston Glenn Beck Mike Lovell John Ashley Jimmy Bell David Charkham Show All…
How the Solar System Was Won, Journey Beyond the Stars, Two Thousand and One: A Space Odyssey, 终极之旅, 2001: Космическа одисея, 2001: Uzay Yolu Macerası, 2001: Een Zwerftocht in de Ruimte, 2001: Ruimte Odyssee, 2001: Vesmírná Odysea, 2001: A Space Odyssey - Extended Edition, 2001: Uma Odisséia no Espaço, 2001: Avaruusseikkailu, 2001 - Odyssee im Weltraum, 2001: Одисеја у свемиру, 2001: Odissea nello spazio
Dear College-Age Matt Singer, who thinks this movie is long, boring, and pretentious:
You’re a fucking idiot.
Love,
Your Older, Smarter Self.
2001:A Space Odyssey is quite simply the worst thing to happen to cinema ever. Its forced profundity has caused millions of people all over the world to force themselves to like what is quite simply nothing more than an exercise in style.
Kubrick has no idea what he is doing here. His film jumps around with little to no sense of unity. The great film makers of the world create a series of events that contain clarity of information, something Kubrick couldn't bet his life on.
What is the purpose of what is going on here? Is there any coherent message? I have heard suggestions that it is Kubrick's message about the future of humanity, but what future is that? Does Kubrick even know?
This is Transformers for the art house crowd. Pure style over substance. Nobody actually likes this film, they just like to be seen liking it.
“i can feel it. i can feel it. i can feel it”
maybe the most monumental film in history, and even better on the big screen. and while rewatching it today, i finally realized why it hits me so hard every time: it doesn’t feel like fiction to me. i know it is, but it feels tangible, like an eventual future, even in the abstract. there’s a thread of truth running through it, sparking a fear and wonder in me that no film has ever matched in the same way, the most colossal and terrifying inevitability of our current existence: we are not alone
y'all make fun of alexa now but she's bound to snap one of these days...
man invents tools. man becomes slave to those tools. the tools start to behave like man so man brutally murders them. man sees the cycle, sees everything and transcends—goes nuclear space baby mode. 4k disc looks very nice.
I had a disclaimer at the top of this review but everybody went off telling me how wrong I was anyway, so scrap that, you'll just have to remember that this is merely one person's opinion and that we're all entitled to one.
First of all, I like Kubrick's films, love some of them in fact, but I can't even pretend to like this one. Of course I understand the influence this film had on the industry in its time, but that doesn't mean that I found it enjoyable.
It was heavy breathing and scenes of nothing (pretty nothing, nevertheless) against epic music, or sometimes even just a creepy choir, for 140 minutes straight. I wanted to switch it off…
I've had this movie on Blu-Ray for maybe 4 years now and I've always been worried to watch it because it seemed like something I had to be in "the right mood" for. When a friend told me it was playing at the Arclight in 70mm, I said "fuck the mood" and bought myself a ticket, presuming that a 70mm theater screening is the best way to see this thing.
Honestly? I still don't know if that's true. It felt like a huge experience. But this is the second time I've seen a 70mm movie in theaters (the first time being The Hateful Eight) and both times I came away thinking: it doesn't really look better to me. And with…
Everything that could have possibly been written about this film pretty much has been by now. So instead of reviewing 2001: A Space Odyssey, I'm just going to say - if you love 2001 as much as I do, here are some other films that you might enjoy:
- The Tree of Life (2011), dir. Terrence Malick
- Solaris (1972), dir. Andrei Tarkovsky
- Baraka (1992), dir. Ron Fricke
- Werckmeister Harmonies (2000), dir. Bela Tarr
- Under the Skin (2013), dir. Jonathan Glazer
- The Double Life of Veronique (1991), dir. Krzysztof Kieslowski
- It's Such a Beautiful Day (2012), dir. Don Hertzfeldt
- Angel's Egg (1985), dir. Mamoru Oshii
- Enter the Void (2009), dir. Gaspar Noe
-…
“I am putting myself to the fullest possible use, which is all I think that any conscious entity can ever hope to do.”
In the beginning was the Monolith, and the Monolith was with God, and the Monolith was God.
From where had the Monolith derived? It scarcely mattered. If it had always been there, then it had come from nowhere. It simply was. The nothing from which everything sprang. The animating stimulus that drove the amoeba to split in two. The force of nature that extinguished the great lizards not inclined toward avian salvation. The spark of ingenuity that made the ape stand upright and realize its potential for violent innovation.
The Monolith was not “natural” in any traditional…