2001: A Space Odyssey (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.
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What critics compared 2001: A Space Odyssey to
On the basis of his work on the low-budget quasi-student film "Dark Star," future "Alien" writer Dan O'Bannon was hired to create the special effects, after Jodorowksy failed to detect any sympathetic vibes in a meeting with the industry's reigning FX master at the time, Douglas Trumbull ("2001: A Space Odyssey"), whom the filmmaker dismisses as more a "technician" than a fellow truth-seeker.
And second, that in the decade from the late 1960s through the mid-'70s, filmmakers often hatched extreme, unique, original visions — among them Stanley Kubrick's 2001: A Space Odyssey, Jean-Luc Godard's Weekend, Haskell Wexler's Medium Cool, Dennis Hopper's The Last Movie, Dusan Makavejev's W.R.: Mysteries of the Organism, Bernardo Bertolucci's Last Tango in Paris, Werner Herzog's Aguirre the Wrath of God and, we might say, Gerard Damiano's art-porno Devil in Miss Jones.
For special effects, Jodorowsky brought aboard Dark Star’s Dan O’Bannon, rejecting 2001: A Space Odyssey whiz Douglas Trumbull as insufficiently spiritual.
Dune was to be a very European cross between 2001: A Space Odyssey and the rollicking, speedy visuals of the yet-to-be-made Star Wars.
Rejecting special-effects wizard Douglas Trumbull (2001: A Space Odyssey) as being too greedy and arrogant, he drafted Dan O’Bannon, sci-fi novel artist Chris Foss and then-unknown H.R. Giger to design the film’s look.
He rejected Douglas Trumbull, who, after 2001: A Space Odyssey, was considered the most obvious choice for the effects Jodorowsky was envisioning, because he did not have the kind of spiritual connection to the work that Jodorowsky expected his team to have.
Advance whispers comparing The Tree of Life to Stanley Kubrick’s 2001: A Space Odyssey prove to be entirely apt.
Of course, the birth-of-the-universe scenes evoke the chilly grandeur of 2001: A Space Odyssey.
In scenes reminiscent of Kubrick's "2001: A Space Odyssey," Malick sets a soaring soundtrack to swirling images of the cosmos, the formation of the solar system, the cooling of the earth, the genesis of life from the primordial ooze and the development of nature throughout the eons, complete with dinosaurs.
He inserts spaced-out planet-hopping and trippy asides that strongly resemble Stanley Kubrick's "2001: A Space Odyssey" and Gaspar Noe's more recent "Enter the Void."
At least in that regard, the film's comparisons to 2001: A Space Odyssey — which Malick courts throughout — could wind up having merit.
In an elaborate special effects sequence that draws obvious and valid comparisons to Kubrick´s "2001: A Space Odyssey" (Douglas Trumbull provided visual effects for both films, working here along with Dan Glass of "Matrix Reloaded"), nebulae expand, galaxies race away from each other, the Earth forms, volcanoes erupt, the planet cools to a point where multi-cellular life emerges, thrives, and then almost be wiped out by a meteor strike.
Perhaps even more than Tarkovsky's film, Soderbergh's feels like a purely formal exercise, a visual and philosophical voyage (in the obvious vein of Kubrick's "2001: A Space Odyssey" ) that begins and ends at the same point, our own planet, which turns out to be no more "real," no less rich and strange, than Solaris itself.
The movie bears a stronger resemblance to 2001: A Space Odyssey than to Star Wars , with an emphasis on ideas over action.
Solaris bears a closer resemblance to 2001: A Space Odyssey than it does to Star Wars, Episode II: Attack of the Clones.
The film it most resembles is Kubrick's masterful 2001: A Space Odyssey, both in its majestic, sweeping vision of a spaceship-bound catastrophe and its slow, measured story pacing.
This idea of reanimating the dead takes on metaphorical as well as literal shape, in part because Soderbergh appears to be reviving the sort of epic, thought-provoking science fiction exemplified by Kubrick's 2001: A Space Odyssey (1968).
But because the marketing campaign has been so clever and so ubiquitous, you may discover that you’ve already seen a fair amount of the movie’s inspired moments, such as the “2001: A Space Odyssey” homage and Ken’s self-pitying ‘80s power ballad.
The film opens with a homage to Stanley Kubrick’s 2001: A Space Odyssey .
It opens, of course , with an homage to Stanley Kubrick’s “2001: A Space Odyssey.”
That 2001: A Space Odyssey reference from the first teaser trailer is no less amusing in the film itself, when it introduces the viewer to a monolithic version of the toy, before thrusting us into the technicolor world of Barbieland.
With Helen Mirren providing the narration (including a fourth-wall-breaking aside midway through the film that kills), “Barbie” begins with a prologue proving there’s still some original humor to be mined from paying homage to “2001: A Space Odyssey” as we see little girls reacting with great, um, enthusiasm to the arrival of Barbie, who pretty much breaks the mold when it comes to dolls.
Barbie begins with a brilliant scene (also the film’s first teaser) that illustrates the arrival of the Barbie doll as akin to Stanley Kubrick’s groundbreaking science fiction epic, 2001: A Space Odyssey .
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Deliberate, downbeat, vast in scope and theme but emotionally intimate, it evokes — at times overtly — the likes of 2001: A Space Odyssey , Solaris , Contact and Arrival .
A medical room, with its white equipment and orange easy chairs, harks back to the stylised 1960s vibe in 2001: A Space Odyssey .
One can sense an attempt by filmmaker James Gray to tap into the vein mined by Stanley Kubrick in his classic 2001: A Space Odyssey.
The influence of iconic science-fiction films like Andrei Tarkovsky’s Solaris and Stanley Kubrick’s 2001: A Space Odyssey are evident from the outset with the narrative following a path akin to Francis Ford Coppola’s Apocalypse Now .
With Ad Astra he has ventured into outer space, fully aware of the pitfalls: being compared to Stanley Kubrick’s 2001: A Space Odyssey or, more recently, Alfonso Cuarón’s Gravity.
Roy’s journey to Neptune involves stopping at a series of manned way stations — first on the moon, then Mars — that echo the expository sections of “2001: A Space Odyssey.”
Despite obvious nods to Kaufman and Stanley Kubrick (2001: A Space Odyssey), what he arrives at is plodding and dramatically opaque.
The moon landing itself, and the other space sequences, don't really look like space movies of the past—you can see Chazelle going to great lengths not to actively lift shots from 2001: A Space Odyssey , Gravity or The Right Stuff .
The film is far more Tree of Life than Apollo 13, and there are even shades of Kubrick’s 2001: A Space Odyssey—dwelling on the existential and philosophical nature of space flight, eyes gazing upward at the galaxies behind the glass domes of space helmets.
He complements the too-big-to-comprehend shots of space with a classy gusto akin to 2001: A Space Odyssey, with sumptuous, smooth symphonies further illustrating the wonder in those moments.
What we have never gotten, that I can think of, is a movie about a real or fictional space mission that's as committed as First Man is to creating an extraordinary subjectivity, a you-are-there-ness that captures all the tension and terror of those three flights through a combination of screaming fast editing by Tom Cross, unnervingly close shots of faces, often just Armstrong's determined, wide eyes (superficially and certainly not by accident recalling 2001: A Space Odyssey ), and Justin Horwitz's terrific score, which hammers out in minimalist rage, just about guaranteeing your heart rate is going to spike from listening to it, whatever else happens.
There are certain sequences where you’re reminded of the VAST expanse and beauty of space (agoraphobes beware) that, at times, feel very 2001: A Space Odyssey -inspired.
His images are arresting and original — but with echoes of "Inception" and "2001: A Space Odyssey" (the movie to which "Interstellar" will inevitably be compared).
In a sly bit of homage, “Interstellar” references not only “2001: A Space Odyssey” but the sequel, “2010.”
Here is a film that provides plenty of 70mm action (cinematographer Hoyte van Hoytema shot the whole thing on film with IMAX cameras he calls “the world’s heaviest Go-Pros”), as well as references both obvious and veiled to such influential sci-fi and/or science touchstones as 2001: A Space Odyssey , Close Encounters of the Third Kind , The Right Stuff and the best speculative fiction of to-the-stars maestro Robert A. Heinlein.
One of the most important settings from the film looks and feels like a shelved concept (wink wink) from Inception , practically a dream sequence but certainly inspired by Stanley Kubick’s 2001: A Space Odyssey ; that film seems to be a blueprint for this movie, substituting similar visuals while even the robots resemble one-by-three-by-nine obelisks.
This is Nolan’s unabashed tribute to 2001: A Space Odyssey, the first movie he ever saw at the age of 8 and the one that made him decide to be a filmmaker (there are homages to that earlier film everywhere).
There is sincerity in the homage paid by its writer-director, Christopher Nolan, to two masterpieces of science-fiction cinema, Stanley Kubrick’s 2001: a Space Odyssey and Steven Spielberg’s Close Encounters of the Third Kind.
It's had inevitable comparisons to Kubrick's 2001: A Space Odyssey.
Every scene aspires to be the “open the pod bay door, HAL” sequence in 2001: A Space Odyssey, as the scientists struggle to stay tethered to each other and to board what remains of their vessels.
Until now space on film, with the exception of 2001: A Space Odyssey, has seemed strangely grounded but here, thanks to the craft employed in capturing its physical reality, it becomes a character in its own right.
This enthralling tale of survival in space will open up young audiences' eyes to the excitement of out-of-this-world exploration – and make older audiences remember the wonder they felt at "2001: A Space Odyssey."
The greatest artistic debt, of course, is owed to Stanley Kubrick's "2001: A Space Odyssey," which dared to use silence, serenity and space—screen space as well as space space—as never before.
All too many extraterrestrial spectacles, from 2001: A Space Odyssey downward, have sought to explain the mysteries of "up there" using spiritual metaphors.
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Despite the aural nod to 2001: A Space Odyssey and a shot that recalls Solaris, Europa Report has more in common with Shane Carruth’s Primer in terms of tone and scale.
The silence and solitude of space bring to mind Duncan Jones’ brilliant “Moon,” and there is a brief, explicit and funny reference to “2001: A Space Odyssey.”
(Film buffs will appreciate a brief musical homage to Stanley Kubrick’s 2001: A Space Odyssey.)
The filmmaker tips his hat to "2001: A Space Odyssey" - which depicted a voyage to the same neck of the solar system - with some visual nods and a few seconds of "The Blue Danube" waltz.
Gelatt’s script is a skillful blend of realistic sci-fi procedural and elements of mystery, building suspense while scratching an itch for those who worship the elegance of “2001: A Space Odyssey,” which is directly referenced.
The sense of immersion in the ship’s mundane rhythms isn’t the only passing reminder of “2001: A Space Odyssey”; listen closely for a quick snippet of “The Blue Danube” in an early scene.
As always, Fassbender delivers an assured and subtle performance of superb control and physical expressiveness, but the fact that his references are made so explicit is of a piece with “Prometheus’s” derivative style, which nods to everything from “2001: A Space Odyssey” to “Star Trek” as Shaw and her crew explore a darkly forbidding planet.
Prometheus certainly begins differently to the Alien films with a sequence on the Engineers’ home planet that evokes the climatic journey to the alien planet in 2001: A Space Odyssey , with sweeping shots of landscapes that looks similar to that of Earth, but are also otherworldly.
After a prologue that recalls "2001: A Space Odyssey" as much as anything, the film begins in 2089, with scientists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) finding cave drawings that seem to confirm discoveries in other places around the world: Beings from space have visited Earth and are inviting us to visit them.
The movie’s Big Questions hark back to 2001: A Space Odyssey and serve up for food for thought when they’re not bludgeoning you over the head.
His eerily calm, precise demeanor also is reminiscent of the HAL 9000 computer program in "2001: A Space Odyssey," and the pop-culture influences that shape David's habits and speech are a clever celebration of the power of classic cinema in general.
For one thing, in 2093, they're still watching Lawrence of Arabia , or at least androids are, specifically Michael Fassbender's David (a nod to 2001: A Space Odyssey , which didn't monkey around with fearful concessions to its audience); amusingly, David takes style cues (and conquest assuagement?) from Peter O'Toole.