![]() ![]() I don’t need every story told in a linear fashion, and I don’t always mind an ambiguous ending. In 2001: A Space Odyssey, the story seems almost incidental to the craft of filmmaking, like the actual plot-such as it is-is used as an excuse to string together a lot of random, often beautiful images and pretend you’re watching a narrative instead of a two and a half hour music video. Visuals can be compelling, and I can be moved by or otherwise enjoy them, but I primarily look at film as a medium to tell stories. As a writer, my focus is heavily on story, plot, character, and dialogue. I, on the other hand, do not tend to like avant-garde films. (Note: you may or may not consider 2001: A Space Odyssey to be truly avant-garde, but I don’t think anyone can deny there’s at least an avant-garde influence.) The story is not nearly as important as the medium you’re using to tell it. People who tend to like avant-garde work, I think, are generally more interested in the visuals than in the message. That sounds snotty, but it really does seem to come down to a fundamental viewpoint on filmmaking. Why? Well, generally, I like my movies to make sense. No, I simply cannot imagine ever liking this movie, no matter how many second chances (or third or fifth or twentieth chances) I gave it.Ģ. I will attempt to do justice to the parts of the film that I could see were well done, but. But I really, really, really did not like it. I mean, I guess it’s possible, but I don’t see how. This doesn’t strike me as the kind of movie you can have a middle ground on. The main players of said expedition: Dave, Frank, and HAL-9000, otherwise known as Hal, their handy super computer.Īlso: a bunch of other really weird shit happens, including ape-people and a shitload of colorful lights.ġ. Some people discover a strange black monolith buried on the moon, and an expedition is sent to Jupiter to learn more. I think I want two and half hours of my life back. ![]()
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