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Part of the seriesTHIS IS DCP

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(1968, Stanley Kubrick) Three million years ago, the mysteriously appearing black monolith gives those apes some new ideas; and then Kubrick cuts from an upthrown bone to a spaceship: it’s 2001 and that darn monolith is back! A multiple breakthrough: in its special effects, in the teaming of a world-class director and a science fiction visionary on normally B-picture material; the eschewing of traditional narrative structure; and the tone of mystical transcendence.



“An extraordinary, obsessive, beautiful work of art.” – Michael Wilmington

“Mind-blowing. Its special effects are used so seamlessly as part of an overall artistic strategy that, as critic Annette Michelson has pointed out, they don't even register as such. Dialogue plays a minimal role, yet the plot encompasses the history of mankind (a province of SF visionary Olaf Stapledon, who inspired Kubrick's cowriter, Arthur C. Clarke). It meditates at length on the complex relationship between humanity and technology—not only the human qualities that we ascribe to machines but also the programming we knowingly or unknowingly submit to... The poetry is as hard-edged and full of wonder as ever.”
– Jonathan Rosenbaum

“Is fascinated by the technology of movies as much as by the technology of space—it presents film as a fabulous, exciting plaything, reviving Orson Welles's observation that a movie set is 'the biggest electric train set a boy ever had.’”
– Dave Kehr