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.
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, while attempting to save a preadolescent prostitute in the process.
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 life-form, 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
The band M83's song "Lower Your Eyelids to Die With the Sun" was written to be synced with the "Stargate" sequence. See more »
When Bowman reenters the ship, he is exposed to vacuum for no more than 10 seconds before operating the repressurization valve. Scientific evidence shows that this would indeed be survivable without grievous harm, notwithstanding the sensational depictions in other movies. See more »
No opening credits for actors, writers, producer, director, etc. are shown, with the story beginning right after the title. Although by the 1990s it had become quite common for major films to not have opening credits, it was still unusual in 1968. See more »
Mankind's Self awakening is the theme of "2001: A Space Odyssey", a process that unfolds along a space-time continuum. We "see" our primordial past, and we "infer" a cosmic future. The powers of intuition thus become the doors of perception, in our ongoing collective journey.
From this transcendental perspective, a conventional, egocentric plot seems superfluous. Our frenzied conflicts and self-important dialogue are consumed in evolutionary change, and are irrelevant in a cosmos that is vast beyond comprehension. It's a tough lesson for a vain and aggressive species. Not surprising then that some of us huff and puff about the film's slowness and minimal story. For perceptive viewers, the remuneration is an inspirational sense of wonder and awe.
In this film, which is mostly visual, geometric symbols guide our intuition. Circles and arcs represent nature. Right angles represent conscious intelligence. Some people think the sleek, black monolith is a Von Neumann probe. Maybe. Without doubt, the monolith is a visual metaphor for an extraterrestrial intelligence whose physical form is never shown. Mystery is more profound than explanation.
"2001 ... " is unique among films in content and scope. The cinematography is out-of-this-world, the special and visual effects are breathtaking, and the classical music is sublime. I rarely use the word "masterpiece" to describe a movie. But Stanley Kubrick's "2001: A Space Odyssey" is art in the highest sense, like Leonardo da Vinci's "Mona Lisa", or Vincent Van Gogh's "The Starry Night".
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