Line #0 Awesome/TwoThousandTenTheYearWeMakeContact


1	[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/93f36ddb_81c2_4b24_9bd4_b681ba8d71cf_e1572919953318.jpeg]]
2	[[caption-width-right:350:Something wonderful has happened.]]
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4	* While the film is stylistically different from ''2001'', it's clear in a lot of cases that Peter Hyams still learned important lessons from his film's predecessor, especially the use of audio dynamics between cuts (compare the loud/soft transition between exterior and interior scenes in the Europa probe and aerobraking scenes with Dave's rescue of Frank and return to the ''Discovery'' in ''2001'').
5	* The fact that the crew had to rebuild a significant part of the ''Discovery'' set and the ship's model from scratch after it was destroyed on Kubrick's orders after 2001 was completed. Using only productions stills and other references, they managed to pull it off.
6	* The opening sequence, starting with a Recap of what happened in the first movie...leading to the legendary Music/AlsoSprachZarathustra playing amid the opening titles.
7	* The aerobraking sequence.
8	** In-universe, this maneuver has yet to be attempted by ''any'' spacecraft, let alone a manned one. The ''Leonov'' manages to pull it off safely.
9	** The mere coolness factor of a spacecraft skimming the outer layers of Jupiter like a fireball in the darkness, set against Jupiter's whisper-thin planetary rings and the silhouette of its many moons.
10	* 9 years after its abandonment in orbit around Io, the ''Discovery'' is boarded, reactivated, and saved from plunging into Io's fires below.
11	** Max and Curnow board the ship while it's rotating end-over-end, using nothing more but their tethers and Max's hand-held thruster. In the novel, Max uses a "broomstick" instead. (It's a telescoping tube with an internal spring and an attachment claw, which is capable of complex EVA maneuvering if you know how to use it.) Using the long-range antenna module as the ship's fulcrum point, they walk down the spine of ''Discovery'', even as the centrifugal force of the rotating ship puts them into "full gravity" by the time they reach the command module.
12	** While only briefly mentioned in the film compared to the novel, they only had about 15 minutes to perform the EVA and get inside the ship, as they were exposed to the intense radiation flux between Jupiter and Io the whole time. (This phenomenon does exist IRL, as a result of Jupiter and Io's magnetic fields being strong enough to interact with each other.)
13	** Curnow is obviously not OK with the idea of EVA ("I'm not an astronaut, I'm an engineer! What am I doing here?"), and while he nearly succumbs to stress-induced hyperventilation, he manages to stick it out, and even calms Max down when he has his own moment inside the ship for a different reason.
14	* HAL's reactivation by Chandra, especially hearing Douglas Rain's voice for the first time in 16 years.
15	-->"Good morning, Dr. Chandra, this is HAL. I'm ready for my first lesson."
16	* That first full shot of the Monolith, framed above the ''Leonov'' and ''Discovery'', Lux Aeterna quietly playing in the background.
17	* David Bowman's appearance on the ''Discovery''.
18	** Creator/KeirDullea returning in person for the role 16 years after ''2001'', in the iconic red EVA suit.
19	** In of the few scenes to directly homage an event from ''2001'', Dave and Floyd conversing in the pod bay. They recreated Dave's aging makeup quite accurately, and a making-of featurette detailed how while the makeup took 12 hours to do in the 1960s, it only took around two hours with more modern techniques. Hyams also retained the same device of using simple cuts to transition between Dave's various aged avatars, avoiding SpecialEffectsFailure in the process. Bonus points for remaking the Star Child model as well.
20	** In the novel, Bowman appears to Floyd by marshaling together particles of dust floating in the environment to build an model of his previous human form.
21	* Floyd's apparently rapid brainstorm of how to leave Jupiter weeks in advance, using ''Discovery'' as a booster for ''Leonov''. Both for reminding you that Floyd is as much a scientist as he was a political figure, and for the animated zero-gravity modeling.
22	* Despite being ordered to not work with his Soviet counterparts by the bigwigs, Floyd furiously defies that order, knowing their lives are more important than following a bunch of old farts who are millions of miles away.
23	* The Jupiter escape sequence is chock-full of these moments.
24	** The appearance of the combined ''Leonov'' and ''Discovery''. In the novel, the two ships were held together ''with over a kilometer of (admittedly well-engineered) adhesive tape''.
25	** That first shot of the large Great Black Spot of Jupiter. Even before you know what's causing it, that first shot of the clouds being sucked into a seemingly bottomless pit framed against the ships is ''riveting.''
26	** "Ignition. Full thrust." Cue ''Discovery's'' main engines lighting off with a thunderous noise, sacrificing itself to get ''Leonov'' home.
27	** Jupiter's transformation. As the once great planet shrinks under its increasing density, its colors fading to black, it suddenly flashes into an intense white light, touching off a star. Even if the advancing shell of radiation and pre-stellar matter technically counts as Main/NightmareFuel for what it does to the ''Discovery'' and the ''Leonov'' narrowly avoiding sharing its same fate, it's an intense sight nonetheless.
28	** As for the ''Discovery'' (and possibly [[RedemptionEqualsDeath HAL]]), it sacrifices itself to get the human crew to safety then [[DyingMomentOfAwesome goes out in a blaze of glory.]]
29	* "ALL THESE WORLDS..." The alien race responsible for the Monolith and all the events leading up to this moment grant humanity new worlds to explore and settle (with the obvious exception of Europa) and the same time it sets the life on Europa on its course to survival and sentience. Especially with the two extra lines in the film—"USE THEM TOGETHER[.] USE THEM IN PEACE[.]"—which defuses the US/USSR conflict in one fell swoop.
30	* The final montage of the Lucifer mini-system from Europa, showing the moon's transformation from an all-ice world to a living (albeit still icy) world. The final scene shows trees growing out of islands in the ice, and a slow pan with a wind-like synthesizer sound, to reveal a Monolith jutting up out of the ice, ready to start the events of the first film all over again. Bonus points for the first note of Also Sprach Zarathustra playing at the exact moment of this reveal, and the Monolith bisecting Lucifer as the pan stops, almost in homage to the same scenes in ''2001''.

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