Actually it was still pretty much in the future back in 2001. The parts where gravity, or rather the lack thereof, was portrayed, that was really high tech movie making at the time. Why drag it out so long? Kubrick who co-wrote the screenplay with Arthur C. Its widely anticipated release in Ultra High Definition has arrived and the results are spectacular. Like the audience couldn't figure out how to set the scene unless they saw the establishing shot three or four times.
It was a marvel of a special effects breakthrough back then, and seeing how the effects hold up today, it is no wonder as to why. Millones de años después, otro monolito, enterrado en la Luna, despierta el interés de los científicos. For the first time since the original release, new 70mm prints were struck from pristine printing elements made from the original camera negative. This is one of the nicest presentations of a large format film that I've personally had the pleasure of reviewing. As mentioned above, the incredible reds scattered throughout this presentation were one of the most memorable elements of the 4K presentation, and the whole final hallucinogenic ride through the lightshow and then the weirdly altered landscapes are also better detailed now, with an incredibly vivid if weirdly skewed palette. Sequentially, several mysterious black monoliths are discovered and basically trigger certain events integral to the film. También podría ser que intentas reproducir directamente el archivo.
What the hell is controversial about it? Warner did an outstanding job with the re-mastering of this classic film. Most of this film takes place in space. Kubrick and Clarke have started the task of envisioning it, now it's up to the audience to continue. The focus on questions about life, intelligence, and time, is worth more attention than the sci-fi part though the special effect of this movie is already way ahead of its time. The scenes aboard the Delta spaceship look fantastic.
Floyd arriving at the monolith on the moon, almost mimic black and white films for a moment or two, with an emphasis on silvers and grays. Kubrick has stated that he inteded to make 2001 open for discussion. Warner has traditionally been one of the more consistent studios in terms of excellent handling of its vast catalog, and 2001: A Space Odyssey is another jewel in its already well studded crown. This film just isn't one of them. On the other hand, sequences of dialog go by too quickly and there's not enough exposition to let people who haven't read the book know what's going on My mother had mercy on me and explained everything before I watched it. Through the use of large miniatures and realistic lighting, Kubrick created some of the best special effects ever put on celluloid.
The second time I suffered through this sore excuse for a film, it was to help my sister time the sequences to see how long they lasted. The second period is the near future, in the year 2001. Neither are compromising, even during special effects shots. The reason it is slow, and filled with minutae is because the aim was to realistically envision the future of technology and the past, in the awe inspiring opening scenes. Beauty is an under-rated concept. Herriott also gets into, those who are going to utilize previous home video releases as the standard against which this release is measured may quibble with some aspects, notably the color timing, which is noticeably different in some respects from previous releases. There is nothing wrong with creating a beautiful sequence that has nothing to do with the film's plot.
Instead of waiting in long lines for the Phantom Menace, rent a widescreen edition of 2001 and enjoy the greatest cinematic experience. I was extremely pleased with the outcome of each audio presentation. And although it is misunderstood by many, and respectively underrated, it is considered one of the best films of all time and I'll have to agree. They fight, see the monolith, fight some more, pommel things with a bone. Le premier instrument est né.
The beauty of 2001 is that the ending need not mean anything deep, it can just be a purely plot driven explanation and the entire movie can be viewed as an entertaining journey through space. Remember that when this film was made, man still hadn't made it out to the moon. And it's not long before the director once again lapses into too-long goings on. As fans of the film know, dialogue in this outing is actually on the sparse side, but is always rendered cleanly and clearly, and the effects are typically often placed smartly in the surround channels to develop what is strangely both a kind of claustrophobic and a wide open mix. Looking at the results it is readily apparent that a lot of care went into the restoration.
We get a little more exposition in a board room scene that follows. By respecting the audience's intelligence, Kubrick allowed his movie to be the beginning, not the end, of a meaningful discussion on man's past, present, and future. A lot of the movie felt that way. If the Agel book didn't contain The Sentinel, it at least referred to it, because I know I read the Clarke story as well as Clarke's novelization of the screenplay in preparation for going to the theater to see the film for the first time. Yes, the ending is weird and hard to comprehend - but that's the nature of the future. The first time I tried watching this movie I gave up halfway through. This is one of the most impressive restorations I have seen to date.
Today I can more appreciate it for what it is. Instead I found myself waiting for blissful silence whatever way it came. Blacks looked solid and for those who may have feared unboosted, and the entire palette looks appealingly saturated, and what Mr. Aside from the magnificent display of ingenious special effects, there are other factors that play a part in establishing the feel of the film. I can't think of another film where you can't here anything in space, like it is in reality. .
Through the use of silence and the darkness of space itself, a mood of isolation is created. Grain is finely resolved throughout this 4K presentation, appearing arguably a bit more variable in terms of intensities and thickness than in the 1080p version. The psychedelic climax is bold and vivid and certainly better detailed than I remember seeing in 35mm reduction prints. Each presentation delivers a rewarding audio experience that is highlighted by the richness and defining clarity of the memorable music score, while appropriately applied dynamics and mid to upper level bass provide solidity that enhances both the music and effects without sounding unnatural or over processed. Content related solely to the 4K release begins with the second paragraph. Replay Value: Parental Guide: This film is appropriate for general audiences.