2010 - L'année du premier contact (L'odyssée continue)

I never knew a sequel was made of "2001: A space odyssey" until a few months ago. When I finally had watched this film, I understood why. "2010" is anything but a bad movie, but it doesn't offer the same remarkable innovation its predecessor did. Nevertheless, this film has some great special effects which are, just like "2001", way ahead of its time. Watching this film, it's hard to believe that it's already more than 15 years old! Because this film sets off immediately where the previous one ended, you're involved the second you start watching! As a result of this, "2010" sheds some serious light on many unanswered questions of "2001: A space odyssey". This alone makes the story of "2010" very appealing, because one wants to know the true meaning behind the mysterious monolith.

The only let down of the film is that the characters are quite thin and the acting isn't always very convincing. Add to that one or two scenes that can be a bit monotonous and you know why I think "2010" is not as good as "2001".

Even so "2010" is worth-watching thanks to breathtaking special effects and a storyline that'll make the previous movie a little bit more understandable.

To those who play the game Kerbal Space Program, love The Martian, or astrophysics, this is a must see. Contrasting to the mystery of its predecessor (2001: a space odyssey), 2010 offers answers to the questions it posed. Based on the equally excellent novel "2010: Odyssey Two", it sticks to fairly accurate science (with some assumptions grounded in science). Notably, it deviates in some subplots from the book, simplifying the plot, which works just fine. Unlike the classical pieces used in 2001, the music is mostly original work (except for the franchise-defining use of "Also sprach Zarathustra"), composer David Shire does a great job capturing the sense of distance and grandness of space exploration. Arthur C. Clarke also wrote two further squeals, though they do not completely follow the exact same continuity between each other.

The reactions to this film sum up a problem of perception that many film buffs seem to have. To such people, Kubrick was a genius. Kubrick made 2001. 2001 is a *Kubrick* story. Therefore 2010 is by definition a presumptuous attempt to explain what Kubrick deliberately left unsaid. etc. etc.

Sorry, 2001 is an *Arthur C Clarke* story. He wrote a sequel to his own story, called it "2010" and *he* explained what Kubrick left unsaid. I'd say he had a right. Then someone buys the film rights and produces a fine movie from it.

And it *is* a fine movie. Intelligence far in excess of the usual Hollywood SciFi garbage (Independence Day or Starship Troopers anyone?).

The scenes with Keir Dullea were far more chilling than anything in the original.

Arteur theory is still alive and well, I see.

It's some years later (nine in fact) a return is being planned, but the Russians seem to hold the upper hand, they're ahead, and will be first, so the USA is forced, to tag along, to sit right back, not take command. Upon arrival, the monolith is there, a balloon ride makes an interesting fanfare, jumping to Discovery, rebooting Hal to look and see, then instructions that they need to be elsewhere.

It's not the worst sequel you'll find, and there are some remarkably good performances from a heavy weight cast. Not sure it will resolve too much of the conundrum, the interpretation of the first is uniquely your own if you've found the time to ruminate on it over the years, but compared to what it could have been, I wouldn't put you off.

This is an excellent SCIENCE-fiction film. It carries on the story introduced in Kubrick's "2001", and ties up many loose ends and clarifies what happened in the first film. The effects are excellent even by today's standards, the acting is believable, the characters are well-developed, its pacing is tight, and its plot is well-executed. Finally, this is TRUE science-fiction, not space-opera, and I wish more movies were like this. I hope someone worthy picks up the remaining 2 Clarke novels for the screen.

Now:

1. To everyone saying this is a weak film because it doesn't match the depth, mystery, and style of Kubrick's 2001: You guys need to open your minds a bit! It's ridiculously unfair to measure this sequel, or any film, against 2001. It is, frankly, impossible for ANYONE to produce a film that matches Kubrick's style unless that someone *IS* Kubrick himself! 2010 was not produced to COMPETE with 2001 at all, the director stated that he never would have produced this film without Kubrick's and Clarke's BLESSING. I'm sure the director deliberately avoided copying any of the style of 2001 at the risk of failing miserably and upsetting his own idol. Kubrick told the director to make this movie his own, thus the director did! If you go cynically comparing all sci-fi films to rare masterpieces you will only end up ruining your own chance of enjoying them for their own merits. It's like saying all music is of dubious value because it wasn't composed by Beethoven! You're only hurting and embarrassing yourself.

2. A number of reviewers felt that the monitors on the ships (actual CRTs built into the sets) look cheesy due to their pixellated graphics and curved faces. Well, you guys are assuming that Kubrick's film has flat panels because of some scientific rationale about the future. Did you think that maybe Kubrick didn't use CRTs on his sets was because they did not have color CRTs available in 1968 that were small or cheap enough to build into his sets? All his screens were flat because they used slide projectors to flash static images against the back of semi-transparent screens. Most images were hand drawn to resemble possible computer generated images. The original 2001 scene of the videophone was created by projecting a reel of film against the back of a screen. In 1984, the computer industry was just starting to explode, and color-CRT displays as small as 12" were readily available! When those set designers sat down to think about what the ship of the future would look like, they rationalized that they would be full of CRT displays in 2010, which was only 27 years in the ACTUAL future! How could they know we'd have low cost high resolution LCD flat-screens after only 17 years? You limit your enjoyment by over-intellectualizing everything with a cynical attitude. Of course the graphics were blocky! They were rendered by REAL computers, not hand drawn by artists. I'm sure in 1984 they felt that was a great idea and a nod towards future possibilities!

3. Many people criticize the heavy amount of dialog in 2010 contrasted to the lack of dialog in 2001. Again, we're falling back on the "not Kubrick" style issue. Regardless, you do realize that the BOOK for 2001 was FULL of dialog, right? You DID realize that 2001 is not JUST a film, it has a companion novel several hundred pages long? Since it's a story developed by TWO people, and not just Kubrick, perhaps the lack of dialog is only one director's idea at visualizing the novel and not integral to the STORY itself?

4. Some have heavily criticized the scientific components of 2010, stating that Kubrick had NASA consultants available when he made his film, and that 2010 is weak in this area... Well, I'm wondering why you assume that it wasn't the same case for 2010? Do you have some kind of special insider info about the making of 2010? Because, I believe that there are numerous production notes readily available clearly stating that the director of 2010 was careful in this regard and had many scientific consultants involved in the production of 2010. There is a whole book containing copies of emails between the director of 2010 and Clarke! I remember reading that even Carl Sagan had input into 2010! Oh yeah, lets not forget that Clarke makes a brief cameo in the film, and that both Clarke and Kubrick appear on a magazine cover in the film? If that's not an official endorsement of the film's authenticity and canon, then I am sorely mistaken.

I'm just getting tired of these seemingly angry, cynical, ego-maniacally tedious reviewers bashing the merits of decent films. These people often assume they're brilliant enough to understand what Kubrik (or any filmmaker) was thinking. Dude, you're not Kubrick, you're not a genius artist, you don't even make films! Cynical attitudes are self-destructive, intelligent people are by nature open-minded, and analyze things on their own merits and faults instead of holding everything against rare artistic standards from previous works. The merits or faults of any work are entirely subjective. Many people rate 2001 as one of the greatest movies ever only because all the smart-sounding people do. How many call 2001 a "masterpeice" because they truly, emotionally, and intellectually appreciate the work itself, or simply because it's Kubrick's? How many of you can even honestly answer that question without lying to yourselves?

For the rest of you... if you are open-minded, and consider 2010 for what it is: a DIFFERENT director's take on telling a story from a DIFFERENT book, produced in a DIFFERENT era, then you will enjoy this movie, appreciating that it stands on it's own as one of the top science-fiction films made. And I bet you really enjoy yourselves when you watch movies too, even if they have some flaws.

Good for you!