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2001: A Space Odyssey

1968  149 MN


 7.7



2001: A Space Odyssey on IMDb
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Stanley Kubrick
  Director




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.

 Release Date

April 2, 1968

 Runtime

2h29m (149 min)

 Budget

$ 12,000,000

 Revenue

$ 71,923,560


 Top Billed Cast

 Keir Dullea
 Dr. David Bowman
 Gary Lockwood
 Dr. Frank Poole
 William Sylvester
 Dr. Heywood Floyd
 Douglas Rain
 HAL 9000 (voice)
 Daniel Richter
 Moonwatcher
 Leonard Rossiter
 Dr. Andrei Smyslov


 Written by

Arthur C. Clarke Novel
Stanley Kubrick Screenplay
Arthur C. Clarke Screenplay

 Tagline

The ultimate trip.

 Videos


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 Cast

Keir Dullea
  Dr. David Bowman
Gary Lockwood
  Dr. Frank Poole
William Sylvester
  Dr. Heywood Floyd
Douglas Rain
  HAL 9000 (voice)
Daniel Richter
  Moonwatcher
Leonard Rossiter
  Dr. Andrei Smyslov
Margaret Tyzack
  Elena
Robert Beatty
  Dr. Ralph Halvorsen
Sean Sullivan
  Dr. Roy Michaels
Frank Miller
  Mission Controller
Ed Bishop
  Aries-1B Lunar Shuttle Captain
Edwina Carroll
  Aries-1B Stewardess
Heather Downham
  Stewardess
Penny Brahms
  Stewardess
Maggie London
  Stewardess
Chela Matthison
  Stewardess
Judy Kiern
  Voiceprint Identification Girl
Alan Gifford
  Poole's Father
Ann Gillis
  Poole's Mother
Vivian Kubrick
  Floyd's daughter (uncredited)
Kenneth Kendall
  BBC-12 Announcer
Kevin Scott
  Miller
Martin Amor
  Interviewer Martin Amor
Bill Weston
  Astronaut
Glenn Beck
  Astronaut
Mike Lovell
  Astronaut
John Ashley
  Ape
Jimmy Bell
  Ape
David Charkham
  Ape
Simon Davis
  Ape
Jonathan Daw
  Ape
Péter Delmár
  Ape
Terry Duggan
  Ape Attacked by Leopard
David Fleetwood
  Ape
Brian Hawley
  Ape
David Hines
  Ape
Tony Jackson
  Ape
John Jordan
  Ape
Scott MacKee
  Ape
Laurence Marchant
  Ape
Darryl Paes
  Ape
Joe Refalo
  Ape
Bob Wilyman
  Ape
Richard Woods
  Ape Killed by Moon-Watcher
S. Newton Anderson
  Young Man (uncredited)
Sheraton Blount
  (uncredited)
Ann Bormann
  (uncredited)
Julie Croft
  (uncredited)
Penny Francis
  (uncredited)
Marcella Markham
  (uncredited)
Irena Marr
  Russian Scientist (uncredited)
Krystyna Marr
  Russian Scientist (uncredited)
Kim Neil
  (uncredited)
Jane Pearl
  (uncredited)
Penny Pearl
  (uncredited)
Burnell Tucker
  TMA-1 Site Photographer (uncredited)
John Swindells
  TMA-1 Site Technician #1 (uncredited)
John Clifford
  TMA-1 Site Technician #2 (uncredited)
Stanley Kubrick
  (voice) (uncredited)
Anthony Jackson
  Ape

 Crew


H.L. Bird
  Sound mixer
Victor Lyndon
  Producer
Les Bowie
  Special Effects
Arthur C. Clarke
  Novel
Stanley Kubrick
  Screenplay
Ray Lovejoy
  Editor
Geoffrey Unsworth
  Director of Photography
Brian Johnson
  Special Effects
Arthur C. Clarke
  Screenplay
Stanley Kubrick
  Producer
Winston Ryder
  Sound Editor
Anthony Masters
  Production Design
John Hoesli
  Art Direction
Harry Lange
  Production Design
James Liggat
  Casting
Robert Cartwright
  Set Decoration
Ernest Archer
  Production Design
Dick Frift
  Construction Coordinator
Stuart Freeborn
  Makeup Artist
Malcolm Stewart
  Sound Designer
Graham Freeborn
  Makeup Artist
Stanley Kubrick
  Visual Effects
Douglas Trumbull
  Visual Effects
Mary Gibson
  Wardrobe Supervisor
David Wynn-Jones
  Clapper Loader
Bobby Clark
  Stunts
Stanley Kubrick
  Director
Kelvin Pike
  Camera Operator
John Alcott
  Additional Photography
Derek Cracknell
  First Assistant Director
A.W. Watkins
  Sound Supervisor


 Quotes

 New Quote

Dr. David Bowman: Open the pod bay door, Hal.
   


 Reviews


 New Review

Beyond
By DJ on February 26, 2018
 10

A DOOR
2001: A Space Odyssey is beyond a movie. It is the ultimate door towards something greater than us. It opens the door to another world. This film, as well as Interstellar from Christopher Nolan, is the only movie that is bigger than anything. It is a true religion to me, as it transcends religion itself.

SUMMARY
I give the movie 10 out of 10.


Best SF film ever
By Gruic on March 11, 2018
 10

This film is just perfect.

And some special effects are just better than what we can see today. For example, my favourite scene : the pen flying on the air. Kubrick used a very creative way to make it fly. He used a glass and put the pen in it. That's how the lady can take it with his fingers.

Today, people would use bad computer effect where you can see how it is false. With computers, the cinema turns lazy.


One of the most boring movies I've ever seen
By Carry9 on May 21, 2018
 3

I watched this movie, but I had to watch it in 4 cuts because I kept dozing off.
The different sequences were much too long and too repetitive.

I get it that a lot of people see this movie as a masterpiece, but it did not convince me.


markuspm

There are many great predictions hinting to future (it is from 1968 - can you believe it?) innovations throughout the movie. I might not have found all them because I keep falling asleep while watching it but I will keep trying to find them all.


izgzhen

I believe that we should call it a modernism show, albeit exhibited in the form of a movie. While it might feel "boring", it forces you to rethink what philosophical level that a two-hour film can achieve. The focus on questions about life, intelligence, and time, is worth more attention than the sci-fi part (though the special effect of this movie is already way ahead of its time).


tmdb47633491

The eighth wonder of the world. Easily 30+ viewings since I was a little kid. Nothing new to say here; simply wanted to add another pair of hands to the ocean of applause for my absolute favorite thing, the only indisputably perfect movie, the answer to the question of Is Life Worth Living, Man's greatest achievement, two thousand one a burger-flipping space odyssey


Per Gunnar Jonsson

I got this movie recently when it came out on Ultra HD Blu-ray simply because it was missing in my collection and, being a Sci-Fi fan, missing 2001 in my collection simply would not do. It is a movie that was made to rely almost entirely on the visuals. It could be said that it is a visual symphony if that makes sense. Thus it was filmed on 70 mm film and in 6 channel stereo which, at the time was a huge thing. Thanks to this it actually made some sense to transfer this movie to Ultra HD Blu-ray since the originals were really good enough even though the movie was made in 1968.

I remember watching this movie as a kid and was profoundly disappointed. I thought come on, where’s the adventure, not to mention any form of action? Today I can more appreciate it for what it is. A visually stunning movie. I also can more appreciate the fact that the movie is trying to be scientifically accurate instead of going all out on the fiction part. The parts where gravity, or rather the lack thereof, was portrayed, that was really high tech movie making at the time. I also noticed now, when re-watching it, that all the screens are actually flat which also was really far in the future at the time. Actually it was still pretty much in the future back in 2001.

However, even today, I have to say that I find the movie excruciatingly boring. It is two and a half hour long and it moves very, very slowly. It takes 50 minutes of movie time before we actually get to the main part of the movie and get onto the Discovery for instance. No matter how great the visuals are, there’s only so much boredom I can stand before it starts to get to me.

In the last 30 minutes or so the movie starts to become very psychedelic. The part where Bowman is pulled into the vortex, the stargate, is going on forever and in the end it just becomes a blur of headache inducing color effects. The final parts of the movie with the three Bowmans of different ages is just weird.

So,as this is a non-professional and personal take on the movie I cannot really motivate more than 3 out of 5 stars.

I hadn’t actually planned to review this movie. Everything has really already been said about it but I could not refrain after having read this crap at Rotten Tomatoes:

Critics Consensus: One of the most influential of all sci-fi films — and one of the most controversial — Stanley Kubrick’s 2001 is a delicate, poetic meditation on the ingenuity — and folly — of mankind.

It’s pretty well known that Rotten Tomatoes is the absolutely worst movie rating site around and the so called “critics” are useless culture elite morons with an over-inflated opinion about themselves at best and politically motivated SJW asswipes at worst but still.

What the hell is controversial about it? Reality check, there’s really nothing controversial about it at all. It is just a fictional story in the future. Then we have that crap “the folly”. What bloody folly? If anything the movie shows a much better future than what we got. A future where the politicians apparently promoted advancement of science and space exploration which is the direct opposite to the money and oxygen wasters we have today.

Sure, if you indulge too much in smoking funny mushrooms or are politically motivated you can probably “interpret” the hell out of any movie and “find” whatever message you want but it is still bullshit.

Well, that was my (controversial?) take on 2001.


Wuchak

_**Inscrutable space science-fiction as cinematic art**_

The discovery of an ancient extraterrestrial monolith on the Moon leads to a mission to Jupiter, but the astronauts have unexpected complications with their vessel’s onboard computer, HAL 9000. William Sylvester plays an official of US Astronautics in the first hour while Keir Dullea and Gary Lockwood play the two functioning astronauts in the second half.

Created by Stanley Kubrick (director/writer) and Arthur C. Clarke (writer), "2001: A Space Odyssey" (1968) is an artistic sci-fi film about human evolution, advanced technology, the wonders of space, the routineness of space travel, artificial intelligence and the mystery of extraterrestrial life. It mixes elements of “Planet of the Apes,” which debuted over six weeks earlier, with aspects of “Star Trek: The Motion Picture,” which came out eleven years later and was obviously influenced by this one-of-a-kind movie.

It begins with the “dawn of man” as a curious introduction before jumping forward to the 21st Century, which has been called the longest flash-forward in cinematic history. The depictions of space travel and life-in-space feel wholly authentic.

But “2001” is peculiar in that it rejects traditional techniques of narrative cinema and is often a nonverbal experience, which leaves some viewers in awe and others bored. It’s not about conventional thrills, but rather disquieting awe. It’s not easy entertainment, but meditative, transcendent art. The 1985 sequel, “2010: The Year We Make Contact,” is more standard and less ambiguous yet a worthy companion piece.

The soundtrack mixes classical compositions, e.g. “Also Sprach Zarathustra” by Richard Strauss, with four creepy modernistic compositions by György Ligeti. The parts of the movie that utilize the latter pieces really evoke an unsettling sense of the unknown.

My favorite part is the astronauts’ exchange with HAL, which involves almost an hour of the runtime and is the only part of the film that generates a low-key sense of suspense.

Personally, I don’t believe that humankind began as apes (rolling my eyes). But, even if this were true, where did the apes come from? Did they just spontaneously manifest by accident? If so, when? How? Biogenesis is a scientific axiom meaning “life proceeds from life.” So what life form originally created the apes or the simple organisms that supposedly evolved into apes?

The film runs 2 hours, 29 minutes.

GRADE: A-/B+


Sigeki Ogino

I saw it for the first time when I was in middle school. I thought it was the worst movie ever. Then, some time later, as an adult, I rewatched it and was amazed at how wonderful it was. It was so beautiful and magnificent that I could not believe it was made in 1968, and I thought it was an unprecedented and solemn historical work, like Goethe's "Faust" in literature, one of the greatest masterpieces of cinema that mankind has ever possessed. First of all, it is a film in which dialogue is reduced to the utmost limit, and even if it had been in black and white, I could have watched it ten times without getting tired of it, regardless of whether I could have endured the "silence. It's Kubrick's magic that you can watch this film without any annoying sound effects like in "Jaws" but with classical music and with your heart rate regulated like in Charlie Chaplin's silent films. I don't know how well this film was received in the U.S. at the time, but in Japan, many people shy away from it, saying it is difficult to understand.


Filipe Manuel Neto

**A magnificent film, with beautiful music and great visuals... but smug, empty and unforgivably overrated.**

Stanley Kubrick is, for me, one of those directors who so quickly impresses us with a great film, as it makes us doubt his competence with an absolutely pathetic trash. I know that the director's fans are going to crucify me, but that's how I think, and I even say more: with each Kubrick film I see, I am more convinced that an aura of unjustified “cult” genius has been created around him. I loved some of his movies like “Spartacus”, “Dr. Strangelove”, “Shining” and “Eyes Wide Shut”, but thinking about them and trying to compare them with “Clockwork Orange” and “Full Metal Jacket” is strange. They don't look like the work of the same director.

Released in the 1960s, at a time when the space race was at its height and when the future of Humanity seemed, more and more, to be outside our planet, the film addresses the question of the evolution of the human species in a “sui generis” way: it starts with monkeys and goes to the first contacts with extraterrestrial beings. The film was considered one of the defining milestones of sci-fi as a cinematographic genre, and I believe that this is indisputable. It's also one of the rare sci-fi movies that seems concerned with being scientifically credible, yet not without flaws that a good scientist will spot (and we might not).

Set in a hypothetical future, the film shows what space explorations and life in colonies made in space and on the Moon would be like. However, it is still ironic that, after the 60s and 70s, space exploration has been so secondary that many questions, even today, whether we really should spend industrial amounts of money and resources on it. The future that Kubrick imagined in 2001 seems, in 2022, even more imaginative and far from happening than when the film was released. However, some things really did happen and are, today, normal: this is the case of video calls and the extraordinary advances in robotics and artificial intelligence.

Among the various merits of this film, we have to highlight the extraordinary visual beauty, the way the director worked with the visual and special effects and the excellent camera work. At a time when CGI was a mirage far from a filmmaker's mind, this film gives us images and visuals that look like they were made this year. The film simply hasn't aged a single day: we have clear images, magnificently crafted light and details, excellent sound effects, a cinematography that makes envy to many 21st century films and, also important, a magnificent soundtrack where “Blue Danube” and “Also Sprach Zarathustra” stand out, helping to popularize these melodies.

Despite these indisputable merits, I think this film deserves to be on the list of the most overrated films I've ever seen. And this is due, in good part, to everything else that I didn't say, and which is essential in a good film. Let's start with the absence of a script and horrible pace: for almost three hours, the film drags on unbearably in scenes of great beauty, but with nothing to say. It's truly exasperating. The only moments where the film really gains interest are when the ship's supercomputer turns against the astronauts, and even that segment feels loose, as if the script were a patchwork quilt. The allusions to aliens didn't fascinate me either, it's a regular cliché when making a movie set in space. One point that also didn't help is the lack of good actors, or any decent work for them to do, and the fact that Kubrick shows us life on the space stations as if it were a stay in a luxury hotel. And what about the extraordinary sense of arrogant conceit that the film conveys? We are the ones who have to recognize if the film is good, it can't be the film telling us that every minute!


CinemaSerf

From the opening bars of Richard Strauss's "Also spracht Zarathustra" you just know that this is going to be something unique - and that it is. Apes, playing by a puddle - occasionally engaging in some noisy territorial warfare with their neighbours until one morning, this great black monolith appears. Shortly afterwards these creatures have realised that old bones make new weapons - and that these weapons can kill! The next phase jumps forward four million years later to a mission to Jupiter where a crew of five astronauts under the helpful gaze of their "HAL" computer are making their way across space. Two of them: "Poole" (Gary Lockwood) and "Bowman" (Keir Dullea) are not in hibernation and are regularly engaging with there outwardly affable digital companion. It doesn't take the humans long to conclude that "HAL" might be both malfunctioning and malevolent, and all of a sudden the life of all the people on board becomes precariously balanced. Is "HAL" malfunctioning, or is it fulfilling it's programming and the crew are just not read in? What might that objective be? We know that the monolith has been seen since the apes, what does that mean? What is the symbolism of this perfectly hewn tablet of granite? Kubrick was visionary with this work. It is a tale of evolution, or progress - of intelligence. It doesn't always make immediate sense, but after you've watched it a few times, there are extra ingredients to this potent mix of adventure and intellect that emerge. The ending is a tad surreal for my rather non-lateral-thinking brain, but the trip they take and the trip we take are eventful and thought provoking. Of course, back in 1968 2001 was a lifetime away and obviously none of this came to pass, but if we renamed it 3001 and recalibrated, well I wonder...! Great stuff.


JJJ222cool

Absolute classic, must see, one of the best scifi movies ever made


James

This is the most pretentious crap ever made - but is it an amazing film? No. But it is an amazing _**piece of art**_. This is worthy of the label of film, but the label of film is not worthy of this. Kubrick has crafted a stellar and surreal experience, one of the greatest **_pieces of art_** ever made. Why, you ask, do I obtain from referring to this as a film? Because it is simply not, it is an overpowering sensory experience, not a film. If I seem to be losing my point, here is it straight. It’s too good to be a film. I wouldn’t say this is enjoyable, or entertaining, but it is a stunning experience. One of the greatest **_pieces of art_** ever made. I only lost a point because it’s not a film. Kubrick is often critiqued for his icy cold view of human emotion, and this is no different. The most affecting and human sequence in the film comes ironically (spoilers) from the death of a machine. Check this out, it may not be entertaining, but it IS worth it.


r96sk

Pleasing on a technical level, even with barely anything to grasp story-wise.

'2001: A Space Odyssey' looks and sounds exquisite, it really is seriously impressive in that regard for a film from 1968. That is, however, the only reason that this gets a passing rating from me if I'm to be totally truthful. The plot itself is rather disappointing, with not much meat on the bones.

I get it's evidently going for the more artsy approach, made clear by the lack of dialogue/bona fide narrative alongside plenty of ambiguity. It's a Stanley Kubrick film after all, not that I've seen much of his work (this be the first, in fact); moreso what I've heard through the grapevine down the years. There are also a lot of long held, empty-feeling (as intended, I'd imagine) shots that bothered me throughout. It just didn't entice me, that's all. I can still respect it.

Given the aforementioned, the cast are basically nonentities - as harsh as that may sound. Douglas Rain does a good job, in fairness, and William Sylvester is alright. I can't say I blame those onscreen all that much, as they aren't exactly given much opportunity to showcase themselves.

As has been the case with a couple of other movies down the years, I'm certainly content to file this one with the 'I clearly didn't get it and I'm cool with that' tag. I'm still glad I watched it. I do appreciate it, if only technically, and naturally love that others love it.



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