Roy Scheider plays the astronaut/skipper of a U.S.-Soviet space mission, sent to find out what happened to the missing Discovery flight that carried Keir Dullea into the beyond in the original 2001. —allmovie guide
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Once you get over the sacrilege of not only making a sequel to 2001, but making it direct, prosaic, and sentimental, this is an absolutely not-bad sci-fi film that's had the decency to be largely forgotten, so the original can still stand alone.
My God, it's full of something, but it ain't stars (lol). After the brilliant "Outland", I had expected Hyams to do much better than this weak tripe. Good spfx for the time, but the script and performances are as hokey as a Roy Rogers western. Dumbest moment: Dave Bowman visiting his ex-wife by television image to tell her that "something wonderful" is going to happen. He's wrong. Even HAL is irritating in 2010. **
Exceeds expectations. While the special effects haven't dated as well as the ones in its predecessor, 2010 is otherwise a pretty damn good sci-fi movie. Really what it boils down to is that 2001 had more of Stanley Kubrick in it than Arthur C. Clarke, whereas 2010 feels more like a straight-up Clarke sci-fi story.
Abstract ideas: ruined. Interpretation: ruined. Tone: ruined. What's left: another boring, ultra-linear SFX exhibition. There's a reason Kubrick went out of his way to DESTROY ALL THE MATERIALS from 2001.
Faisant suite à "2001 : l'Odyssée de l'Espace", ce nouveau film, tiré d'un roman du même auteur, ne cherche pas à rivaliser avec la précédente oeuvre de Stanley Kubrick, mais tente de répondre à certaines questions posées dans "2001". La plasticité sommaire des décors et les dialogues fastidieux déçoivent... www.cinefiches.com
Un bon film de science fiction. Sans plus, mais méritant d'être vu, notamment parce que c'est la suite d'un des plus grands chef d'oeuvres du cinéma (mais il ne faut pas s'attendre au même niveau). Il faut regarder ce film et le comparer aux autres films qui sortaient à ce moment-là, pas seulement à 2001 (et si on fait cela, on constate que ça reste un très bon film).
The exact opposite of its predecessor in method and effect. Where Kubrick was mysterious, cerebral, graceful and evocative, Hyams is verbose, sentimental, clunky and simplistic. Even the use of 'Thus Spoke Zarathustra' feels awkward instead of revelatory. All the wondrous cosmic enigma that made the '68 outing a cinematic milestone is reduced to a now outdated pacifist message against the Cold War. What a shame.