2001: A Space Odyssey (1968)

The film fails on the human level but succeeds magnificently on a cosmic scale. Kubrick's machines and special effects are flawless, and the final sequence suggests man will outgrow his machines and be transfigured.

The critic calls it a flawless, sublime sci-fi opus and Time Out’s best movie ever. It singles out the film’s absolute precision, groundbreaking effects, and the sympathetic performance of HAL 9000 for praise.

The film is awesome, influential, mind-blowing, cool, obsessional and pretentious all at once; it defies easy genre classification and remains fascinating as both great cinema and gobbledygook. Its groundbreaking effects, iconic imagery, musical motifs and provocative ideas make it an unforgettable experience that provokes endless debate.

The film explores humanity’s timeless questions of origin and destiny through its epic journey from ape-men to space pioneers. It singles out the psychedelic Star Gate sequence and the marriage of visuals with classical music as preeminent cinematic accomplishments that evoke awe and meditation.

The review focuses on the iconic HAL pod bay doors scene, praising Kubrick's clinical precision, sound design, and the film's awe-inspiring exploration of the infinite despite its anti-human tone. It notes the film's enduring impact and irrationality.

The film is a majestic visual experience unlike any seen before, true to its scientific predictions while provoking philosophical and metaphysical questions. It singles out the meticulous technical accuracy, special effects, and the fascinating, flawed personality of HAL 9000 as highlights, predicting it will be one of MGM’s all-time hits.

The critic thinks it is some sort of great film and an unforgettable endeavor, praising its technical and imaginative achievements, poetic sci-fi qualities, and how it explores dehumanization. Singles out the handling of the computer HAL and the metaphysical elements for their impact.

The piece recommends the masterpiece for its marvellous sequences and visuals that changed concepts of space, noting it is a blast to watch though sometimes hard to decipher completely.

Kubrick’s seminal sci-fi towers like a monolith with top marks for craftsmanship and awe-inspiring imagery. It remains ineffably alienating and slightly off on revisits despite its majesty.

This seminal sci-fi is an interesting, innovative product of the 1960s whose memorable images and haunting combination of music and visuals continue to intrigue and perplex; it is a must-see for its philosophical take on humanity’s origins and destiny.

The review highlights the film's landmark status in cinema history as sci-fi came of age, praising its visuals, effects, mystical subtext, and status as the ultimate trip.

The critic finds it a major achievement in cinematography and special effects but lacking in dramatic appeal and not a cinematic landmark, comparing it unfavorably to previous sci-fi films in humanity and imagination. Praises the special effects and technical work.

The film is a very complicated, languid movie absorbed in its own problems of color, space and science-fiction detail, somewhere between hypnotic and immensely boring.

The review hails the film as the most ambitious and generally successful science-fiction film ever made. It singles out Kubrick’s astonishing special effects and gadgetry for particular praise while noting minor faults like a prolonged prehistoric episode.

The film is beautiful to look at with plausible special effects and striking images, but ultimately fails as little more than a series of gorgeous images without coherent construction or depth. It ends as an interstellar shaggy dog story whose speculation and ambiguity do not succeed on a visceral level.

The critic calls it the greatest sci-fi movie ever made and a pioneering space epic that every subsequent film in the genre owes a debt to. They single out its visually stunning depiction of space using matte paintings and miniatures, along with the breathtaking Star Gate sequence, as key to its cinematic power despite a glacial pace.

The critic praises the film as a true classic that remains fresh and dazzlingly beautiful. They single out the long wordless opening sequence and its choreography to classical music (especially the Blue Danube Waltz) as one of the most beautiful on film.