---
product_id: 92568141
title: "2001: A Space Odyssey (4K Ultra HD + Blu-ray)"
price: "€ 36.52"
currency: EUR
in_stock: true
reviews_count: 13
url: https://www.desertcart.pt/products/92568141-2001-a-space-odyssey-4k-ultra-hd-blu-ray
store_origin: PT
region: Portugal
---

# 2001: A Space Odyssey (4K Ultra HD + Blu-ray)

**Price:** € 36.52
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- **What is this?** 2001: A Space Odyssey (4K Ultra HD + Blu-ray)
- **How much does it cost?** € 36.52 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.pt](https://www.desertcart.pt/products/92568141-2001-a-space-odyssey-4k-ultra-hd-blu-ray)

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## Description

Stanley Kubrick redefined the limits of filmmaking in his classic science fiction masterpiece, a contemplation on the nature of humanity, 2001: A Space Odyssey. Stone Age Earth: In the presence of a mysterious black obelisk, pre-humans discover the use of tools--and weapons--violently taking first steps toward intelligence. 1999: On Earth's moon astronauts uncover another mysterious black obelisk. 2001: Between Earth and Jupiter, the spacecraft's intelligent computer makes a mistake that kills most of the human crew--then continues to kill to hide its error. Beyond Time: The sole survivor of the journey to Jupiter ascends to the next level of humanity.

Review: The most talked about film of 1968 - The top executives at MGM were stunned after viewing the final cut of “2001: A Space Odyssey”. This was going to be one of the biggest bombs of all time, a complete failure with a hefty price tag over four million dollars over its initial six million dollar budget and sixteen months late. Subsequent screenings for industry bigwigs and the New York critics confirmed the notion. Yet this film made Stanley Kubrick, already well known after “Dr. Strangelove”, a superstar and it went on to become one of the most talked about films of 1968 along with “Bonnie and Clyde” and “Rosemary’s Baby”. In language that the executives could truly understand, the film became the second biggest-grossing film of the year, making over fourteen times its budget (and cumulatively is now the #1 box office film of ‘68). You couldn’t blame both the executives or the critics, as Kubrick was making an entirely new kind of film here, a radical departure from nearly everything that had gone before it. The film was mostly silent, with half an hour more or less of dialogue in its 139 minutes, and little of it very notable in itself. There was no narration and the audience was left to figure everything out for itself. The usual science fiction film was a melodrama or action film in fanciful futuristic sets but this film’s long story arc made it seem at times as if nothing was happening at all, a kind of celebration of space hardware over dialog and plot. This was part of the film’s draw, a chance to see remarkably realistic space vehicles in an equally jaw-dropping evocation of space itself on a 70mm Super Panavision screen. Today’s viewers might just think “It looks like “Star Wars” as indeed it does, but this was the film that inspired George Lucas to make “Star Wars”, once he saw the possibilities. One can’t blame the New York critics either. They were mostly raised on films based on Broadway plays where words were everything and everything else was just a setting. They had simply no reference point for a film whose first and last twenty minutes were entirely silent. At least Andrew Sarris retracted his initial negative review and on a second viewing, praised the film. This would become the standard trajectory of all Kubrick’s films: mixed reviews tending toward bewilderment with future reappraisals discovering a masterpiece. The film is more timely today than it was when it was released.The most memorable character is the HAL 9000 computer, a character we now see easily as AI. In 1968 it was a fantasy but now is becoming actually realized. HAL is more complex than the human characters, at least the way he is written. Like current and future AI, no one is sure if HAL actually feels emotion. But he does go on a neurotic trajectory when he finds he has made an error and acts murderously in self defense to avoid disconnection. It seems very prescient when Bowman and Poole need to discuss the situation, they have to retreat to one of the pods to avoid HAL’s all-present surveillance and even then he reads their lips. Today we find ourselves living in a mesh of surveillance and data collection from our phones, computers, televisions and cars. It is disconcerting but not surprising that already, several car manufacturers have submitted patents for lip-reading technology. There is much said about how the film was saved by the youth audience, particularly that segment of the youth audience from the emerging counterculture who were seeing it under the influence of mind altering substances, and this is true. Young people, stoned or not, were ready for something as new as this. But even then, the film would not have been as gigantic an event as it became. Word of mouth brought in the broad movie audience. It was something you simply had to see to believe. It was an astounding advance in visual depictions of technology and space, of remarkably detailed spacecraft and effects that were amazing in their day and still hold up. The film included one of cinema’s great match shots when the hominim tosses the bone into the air and it is suddenly matched by the shot of an orbiting satellite. It was seen as an illustration of how far man had come needing no explanation. (It was even more literal initially as the satellites were originally going to be explained as orbiting atomic weapons, extensions of the original bone, an idea that Kubrick dropped because he wanted nothing in the film that would connect it to “Dr. Strangelove”). Then there’s the Pan Am Orion III shot where the stewardess rotates almost completely to move from one area to another. Kubrick had set out to make “a good science fiction movie” though he had never attempted anything in the genre before (“Dr. Strangelove” is a political satire, not sci-fi as some describe it). This became his standard practice; he always challenged himself with something new, resulting in a small canon of films unlike any other. He co-wrote the screenplay with one of the greatest science fiction writers of the day, Arthur C. Clarke, whose science fiction was very science based yet full of wonder at the cosmos. Using “The Sentinel”, with its monoliths left by aliens letting them know mankind was ready for its next jump in consciousness, as a starting point, they decided to write a novelization first before a screenplay.This way they could let their imaginations run free of considerations of runtime, scene development or budgets. Kubrick had already made the important decision that the film would be visual and not dialog heavy. In fact, the first 25 minutes are completely without dialog. “The Dawn of Man” is very early indeed, and though Kubrick could have shown a scene of food gathering, he instead chose a scenario that illustrated one of the most important facts of life on Earth. The Earth is limited, it is material and obeys general laws of physics. If you have something good like fresh water, someone else will likely want to take it away. The novelization was still being worked on as the film was being shot and it does not follow the film exactly. Clarke explains things literally which are left open in the film, so it’s not to be taken as a final word.The book was to be issued in 1965, before the film’s originally planned 1966 release. This Kubrick switched. He did not want his film to be seen as an adaptation of the novel with all the attendant carping about where it differed, inherently making the film the subordinate form. The novel thus became a novelization of the film, just how the director wanted it. For its visuals, Kubrick turned not to Hollywood, but to people who had worked with NASA, with educational documentaries about space exploration, illustrators of serious magazine space articles and importantly, Graphic Films, which had created “To the Moon and Beyond” for the New York World’s Fair. He wanted to give the audience an experience of what real space exploration not so far into the future would be like, not Hollywood’s usual fanciful Art Deco or Mid Century Modern versions. This team, which launched the career of Douglas Trumbull (“The Andromeda Strain”, “Silent Running”, “Close Encounters”) created the remarkable effects that awed audiences. The Discovery model was 55 feet long and the Werner Von Braun-style space station was 35 feet wide, a far cry from the small models used in earlier sci-fi films. It’s no wonder the film won all the technical awards. Kubrick accepted the award for only himself and not the crew, causing a rift. He tended to see himself as the artist and his assistants as merely functionaries who made his vision possible. While it was previously normal in Hollywood for Oscars to go only to department heads, by 1968 they were mostly shared. The setting also affected the actor choices and acting. They had to approximate the personalities of professional astronauts, not the bunch of dramatic stereotypes that populate most sci-fi films. Critics criticized the actors for being bland and being almost unimportant but they were actually perfect in their roles. Kubrick worked intuitively and each of his films was for him, an immersive experience. Here, his intuition was working at maximum inspiration. He abandoned Alex North’s film score and instead used the placeholder classical music he had used to fill space during production. His wife had discovered the obscure, amorphous music of Gyorgi Ligeti on BBC radio and when Kubrick heard it, he immediately knew it was a perfect fit. The juxtaposition of the familiar nineteenth century “Blue Danube” with the spacecraft and rotating space station made it an instantly relatable, soaring space ballet for the audience. It’s also notable that the film is also without music for very long periods of time. This included even the tensest moments, when most soundtracks would be taut with intense music as when Poole is cut loose and sent soaring into the void. The deafening silence of an uncaring universe could never be better shown. The depths of the black void and the twinkling stars had never been even vaguely approximated before. Even the film’s delayed release due to the director’s perfectionism, worked in its favor. A fall 1966 release date would have been too early. By 1968 so much cultural change had occurred that the audience was ready for a film as unusual as this,“The Ultimate Trip”. EXTRA NOTE: There has always been a lot of grumbling about “2001” not winning the Best Picture Oscar, and it going to “Oliver!” (one of my other favorite films from 1968). Let me clear this up by noting that 2001 was not even nominated for Best Picture. It was nominated for and won some deserved technical awards and one for its adapted score, but that was it. All science fiction was looked down upon by the Academy as a B-movie genre. The top Academy Awards were for prestigious dramas and historical films in their stuffy mindset. Stuck in a received view of film importance, they rarely even nominated comedies, much less sci-fi.
Review: A classic film got a facelift - I saw this movie when it was first released to the theatres. Loved it. Bought the film on DVD. This 4K print is the best print ever. Great 4K resolution, sharp and clear with great audio sound. Flawless. Worth the money spent. This movie is a true timeless masterpiece.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| Contributor | Daniel Richter, Douglas Rain, Frank Miller, Gary Lockwood, Keir Dullea, Leonard Rossiter, Margaret Tyzack, Robert Beatty, Sean Sullivan, Stanley Kubrick, William Sylvester Contributor Daniel Richter, Douglas Rain, Frank Miller, Gary Lockwood, Keir Dullea, Leonard Rossiter, Margaret Tyzack, Robert Beatty, Sean Sullivan, Stanley Kubrick, William Sylvester See more |
| Customer Reviews | 4.8 out of 5 stars 3,961 Reviews |
| Format | 4K |
| Genre | Action & Adventure |
| Language | English |
| Runtime | 2 hours and 29 minutes |

## Product Details

- **Format:** 4K
- **Genre:** Action & Adventure
- **Language:** English
- **Runtime:** 2 hours and 29 minutes

## Images

![2001: A Space Odyssey (4K Ultra HD + Blu-ray) - Image 1](https://m.media-amazon.com/images/I/81+A2aV5-TL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ The most talked about film of 1968
*by J***F on August 9, 2026*

The top executives at MGM were stunned after viewing the final cut of “2001: A Space Odyssey”. This was going to be one of the biggest bombs of all time, a complete failure with a hefty price tag over four million dollars over its initial six million dollar budget and sixteen months late. Subsequent screenings for industry bigwigs and the New York critics confirmed the notion. Yet this film made Stanley Kubrick, already well known after “Dr. Strangelove”, a superstar and it went on to become one of the most talked about films of 1968 along with “Bonnie and Clyde” and “Rosemary’s Baby”. In language that the executives could truly understand, the film became the second biggest-grossing film of the year, making over fourteen times its budget (and cumulatively is now the #1 box office film of ‘68). You couldn’t blame both the executives or the critics, as Kubrick was making an entirely new kind of film here, a radical departure from nearly everything that had gone before it. The film was mostly silent, with half an hour more or less of dialogue in its 139 minutes, and little of it very notable in itself. There was no narration and the audience was left to figure everything out for itself. The usual science fiction film was a melodrama or action film in fanciful futuristic sets but this film’s long story arc made it seem at times as if nothing was happening at all, a kind of celebration of space hardware over dialog and plot. This was part of the film’s draw, a chance to see remarkably realistic space vehicles in an equally jaw-dropping evocation of space itself on a 70mm Super Panavision screen. Today’s viewers might just think “It looks like “Star Wars” as indeed it does, but this was the film that inspired George Lucas to make “Star Wars”, once he saw the possibilities. One can’t blame the New York critics either. They were mostly raised on films based on Broadway plays where words were everything and everything else was just a setting. They had simply no reference point for a film whose first and last twenty minutes were entirely silent. At least Andrew Sarris retracted his initial negative review and on a second viewing, praised the film. This would become the standard trajectory of all Kubrick’s films: mixed reviews tending toward bewilderment with future reappraisals discovering a masterpiece. The film is more timely today than it was when it was released.The most memorable character is the HAL 9000 computer, a character we now see easily as AI. In 1968 it was a fantasy but now is becoming actually realized. HAL is more complex than the human characters, at least the way he is written. Like current and future AI, no one is sure if HAL actually feels emotion. But he does go on a neurotic trajectory when he finds he has made an error and acts murderously in self defense to avoid disconnection. It seems very prescient when Bowman and Poole need to discuss the situation, they have to retreat to one of the pods to avoid HAL’s all-present surveillance and even then he reads their lips. Today we find ourselves living in a mesh of surveillance and data collection from our phones, computers, televisions and cars. It is disconcerting but not surprising that already, several car manufacturers have submitted patents for lip-reading technology. There is much said about how the film was saved by the youth audience, particularly that segment of the youth audience from the emerging counterculture who were seeing it under the influence of mind altering substances, and this is true. Young people, stoned or not, were ready for something as new as this. But even then, the film would not have been as gigantic an event as it became. Word of mouth brought in the broad movie audience. It was something you simply had to see to believe. It was an astounding advance in visual depictions of technology and space, of remarkably detailed spacecraft and effects that were amazing in their day and still hold up. The film included one of cinema’s great match shots when the hominim tosses the bone into the air and it is suddenly matched by the shot of an orbiting satellite. It was seen as an illustration of how far man had come needing no explanation. (It was even more literal initially as the satellites were originally going to be explained as orbiting atomic weapons, extensions of the original bone, an idea that Kubrick dropped because he wanted nothing in the film that would connect it to “Dr. Strangelove”). Then there’s the Pan Am Orion III shot where the stewardess rotates almost completely to move from one area to another. Kubrick had set out to make “a good science fiction movie” though he had never attempted anything in the genre before (“Dr. Strangelove” is a political satire, not sci-fi as some describe it). This became his standard practice; he always challenged himself with something new, resulting in a small canon of films unlike any other. He co-wrote the screenplay with one of the greatest science fiction writers of the day, Arthur C. Clarke, whose science fiction was very science based yet full of wonder at the cosmos. Using “The Sentinel”, with its monoliths left by aliens letting them know mankind was ready for its next jump in consciousness, as a starting point, they decided to write a novelization first before a screenplay.This way they could let their imaginations run free of considerations of runtime, scene development or budgets. Kubrick had already made the important decision that the film would be visual and not dialog heavy. In fact, the first 25 minutes are completely without dialog. “The Dawn of Man” is very early indeed, and though Kubrick could have shown a scene of food gathering, he instead chose a scenario that illustrated one of the most important facts of life on Earth. The Earth is limited, it is material and obeys general laws of physics. If you have something good like fresh water, someone else will likely want to take it away. The novelization was still being worked on as the film was being shot and it does not follow the film exactly. Clarke explains things literally which are left open in the film, so it’s not to be taken as a final word.The book was to be issued in 1965, before the film’s originally planned 1966 release. This Kubrick switched. He did not want his film to be seen as an adaptation of the novel with all the attendant carping about where it differed, inherently making the film the subordinate form. The novel thus became a novelization of the film, just how the director wanted it. For its visuals, Kubrick turned not to Hollywood, but to people who had worked with NASA, with educational documentaries about space exploration, illustrators of serious magazine space articles and importantly, Graphic Films, which had created “To the Moon and Beyond” for the New York World’s Fair. He wanted to give the audience an experience of what real space exploration not so far into the future would be like, not Hollywood’s usual fanciful Art Deco or Mid Century Modern versions. This team, which launched the career of Douglas Trumbull (“The Andromeda Strain”, “Silent Running”, “Close Encounters”) created the remarkable effects that awed audiences. The Discovery model was 55 feet long and the Werner Von Braun-style space station was 35 feet wide, a far cry from the small models used in earlier sci-fi films. It’s no wonder the film won all the technical awards. Kubrick accepted the award for only himself and not the crew, causing a rift. He tended to see himself as the artist and his assistants as merely functionaries who made his vision possible. While it was previously normal in Hollywood for Oscars to go only to department heads, by 1968 they were mostly shared. The setting also affected the actor choices and acting. They had to approximate the personalities of professional astronauts, not the bunch of dramatic stereotypes that populate most sci-fi films. Critics criticized the actors for being bland and being almost unimportant but they were actually perfect in their roles. Kubrick worked intuitively and each of his films was for him, an immersive experience. Here, his intuition was working at maximum inspiration. He abandoned Alex North’s film score and instead used the placeholder classical music he had used to fill space during production. His wife had discovered the obscure, amorphous music of Gyorgi Ligeti on BBC radio and when Kubrick heard it, he immediately knew it was a perfect fit. The juxtaposition of the familiar nineteenth century “Blue Danube” with the spacecraft and rotating space station made it an instantly relatable, soaring space ballet for the audience. It’s also notable that the film is also without music for very long periods of time. This included even the tensest moments, when most soundtracks would be taut with intense music as when Poole is cut loose and sent soaring into the void. The deafening silence of an uncaring universe could never be better shown. The depths of the black void and the twinkling stars had never been even vaguely approximated before. Even the film’s delayed release due to the director’s perfectionism, worked in its favor. A fall 1966 release date would have been too early. By 1968 so much cultural change had occurred that the audience was ready for a film as unusual as this,“The Ultimate Trip”. EXTRA NOTE: There has always been a lot of grumbling about “2001” not winning the Best Picture Oscar, and it going to “Oliver!” (one of my other favorite films from 1968). Let me clear this up by noting that 2001 was not even nominated for Best Picture. It was nominated for and won some deserved technical awards and one for its adapted score, but that was it. All science fiction was looked down upon by the Academy as a B-movie genre. The top Academy Awards were for prestigious dramas and historical films in their stuffy mindset. Stuck in a received view of film importance, they rarely even nominated comedies, much less sci-fi.

### ⭐⭐⭐⭐⭐ A classic film got a facelift
*by D***N on July 20, 2026*

I saw this movie when it was first released to the theatres. Loved it. Bought the film on DVD. This 4K print is the best print ever. Great 4K resolution, sharp and clear with great audio sound. Flawless. Worth the money spent. This movie is a true timeless masterpiece.

### ⭐⭐⭐⭐⭐ "I can assure you now, very confidently, that it's going to be all right again."
*by A***R on July 28, 2026*

One of the best 4K transfers ever. 2001: A Space Odyssey has never looked better. And with this restoration, I could say that it looks better than so many new releases in the past few years that look incredibly fake with their heavy use of CGI. 2001's use of practical effects has helped it stand the test of time. It's not just a "good-looking film for its time". It's an excellent-looking film, full stop. A must-have in your 4K collection.

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*Product available on Desertcart Portugal*
*Store origin: PT*
*Last updated: 2026-09-11*