Right when the lobotomization of HAL is complete, a prerecorded message from Dr. Floyd starts playing, giving full details about the discovery of the Monolith, details that only HAL had been privy to. Was the broadcast accidentally triggered by Dave Bowman's actions, or was it intentional on HAL's part, to share the information with Dave to complete the mission?
Some fans see HAL in a much more sympathetic light. Midway through the movie HAL has a sit down with Dave asking about the peculiarities surrounding the mission. Dave knows that the ship A.I. would know exactly what's going on and catches on that HAL is fishing for something. HAL, realizing he slipped up, changes the subject by saying the AE-35 unit is acting up, and that it needs to be repaired. Dave and Frank try to do so, only to realize that it's working perfectly, and later discuss if HAL is malfunctioning and the possibility of disconnecting him, which appeared to be the equivalent of lobotomizing or even killing HAL. It's a bit harder for the audience to sympathize with HAL, since he's a faceless A.I. who decided to prioritize completing the mission at the expense of the entire human crew. If he were human, since HAL's colleagues were planning to harm him out of distrust at best, and for a trivial mistake at worst, having an emotional break and responding by taking action against Frank and Dave would have been completely justified.
Award Snub: Considered one of the greatest and most influential films of all time, and yet it wasn't even nominated for the Best Picture Oscar.
Kubrick received Oscar nominations for Director and Original Screenplay but didn't win either one.
The film did win the Oscar for Visual Effects, which was awarded to Kubrick. It remained the only Oscar he won for his entire career.
Even then, the film's only Oscar win for Visual Effects was still a snub as Kubrick wasn't the only one who contributed to the film's special effects. The film's credits list four other effects contributors: Douglas Trumbull, Tom Howard, Con Pederson, and Wally Veevers. However, according to Oscar rules at the time, only three people could be nominated for their work on a single film, so only Kubrick's name was submitted, snubbing the other four effects contributors.
The film was passed over for an Honorary Oscar in Makeup in favor of Planet of the Apes (1968), despite the makeup in 2001 being arguably superior.
Many joke that the ape makeup in 2001 was snubbed because the Oscars thought that the film used real apes rather than superior makeup.
Despite 2001's technical brilliance, it received only two Oscar nominations in technical categories: Visual Effects (which it won) and Art Direction. The film's editing, sound, and beautiful cinematography weren't even nominated.
Creepy Awesome: HAL is one of the most outright disturbing artificial intelligences in fiction, but also one of the most iconic.
Draco in Leather Pants: HAL in a weird way; there are fans who insist he only attacked the crew out of self-preservation.
Though to be fair it was revealed in 2010 that in a way what happened wasn't HAL's fault. He was ordered to keep the true nature of the mission a secret, which conflicted with his basic programming, which caused his actions in the film. The man who planned the Discovery mission was LIVID when he found out what had been done to HAL.
Evil Is Cool: HAL is by far the coolest character in the film.
Fandom Rivalry: Among cinephiles, 2001 is paired against Tarkovsky's Solaris (1972) with the debate on which is the better space movie. Tarkovsky claimed not to have seen 2001 when he made Solaris and after seeing it thought it was a very cold, sterile film. Interestingly enough both movies have the opposite views on Space. Kubrick's film is about the universe being filled with things beyond our comprehension which we cannot comprehend, while Tarkovsky's film is essentially about the loneliness of being in space, being apart from Earth and the ability of astronauts to readjust to civilian life after spending time "up there".
When Kubrick adapted the book to movie form, he changed a setting: instead of having Discovery head to Saturn and its moon Iapetus, he moved it to Jupiter and its moon Io. He did it because he couldn't create the special effects to make Saturn. Lo and behold, in 1979, the Voyager probes discovered that the next moon out around Jupiter, Europa, is very icy, and later observations have found it likely has a tidally-heated subsurface ocean of liquid water. Not only did it inspire 2010: The Year We Make Contact, but today Europa is considered more likely to harbor extraterrestrial life than Mars!
Also, Pan Am, in 1968, was all but ubiquitous—it was the international airline for the US, and a cultural icon. Pan Am folded in 1991, partially absorbed by United Airlines; its nearest rival for "official airline of the United States", TWA, was bought in all but name by American Airlines in 2001. Obviously, Kubrick had no way of knowing any of this in 1968, and so naturally extended current tendencies in the airline world to space...but that doesn't keep the presence of Pan Am spacecraft from being hilarious Zeerust to modern audiences.
MAD Magazine's parody of 2001 ends with the Monolith revealing that it's really a book called How to Make an Incomprehensible Science Fiction Movie & Several Million Dollars. In 2014, Taschen published The Making of Stanley Kubrick's 2001: A Space Odyssey by Piers Bizony, which is a large black hardcover book shaped exactly like the Monolith.
HAL's control panel monitors display text and graphics in white on a background of bright solid color, which makes them look a lot like the Microsoft "Metro" design language from Windows 8 and 10, Windows Phone and Xbox 360.
Not only is HAL a one letter shift from IBM, we now have the sophisticated AI Watson, who successfully defeated the two most successful Jeopardy! contestants ever WITHOUT being connected to the internet.
In one scene, crew members can be seen using devices that are remarkably similar to modern day Ipads.
Magnificent Bastard: Floyd. He was genuinely surprised to see Elena and Dr. Smyslov at the space station, but he decided to tell Smyslov he was heading to the Clavius Base. Then, without actually giving anything away, Floyd is able to make sure that the cover story about the epidemic is holding up, and even strengthens it a little.
Mainstream Obscurity: There are way more people who know about the monolith and the HAL 9000 than the amount of people who have seen this film, especially thanks to the "Weird Al" Effect.
Apes, monkeys or general monkeying around... to Thus Spoke Zarathustra.
The rather innocuous line "See you next Wednesday," thanks to John Landis using it in all his films.
HAL singing "Daisy Bell" as Dave dismantles him.
Older Than They Think: Most people who watch the film and do not know its age believe it to have come in the wake of Star Wars or thereabout - i.e., the late 1970s. Part of this is the impeccably accurate portrayal of modern spaceflight, technology, et al, and part because of the gorgeous quality of the cinematography and special effects, which rival Star Wars and make it appear as though it were made in the late 70s.
Out of the Ghetto: Kubrick made this film specifically to bring science-fiction into the mainstream. He was fascinated by concepts of the genre but disappointed by most science-fiction books and movies. Drawing from external references (modernist literature, painting and philosophy), he deliberately approached the genre in a more realistic and enigmatic fashion. His film eschewed some of the genre trappings of World Building (space jargon, technology, alien species) and focused on how mysterious and bewildering space travel and alien contact could actually be. The groundbreaking special effects and greater sophistication made many people treat 2001 as an art-movie and Epic Movie spectacle rather than the usual B-Movie contempt which science-fiction was usually treated with.
Padding: Done for artistic rather than budgetary reasons, but still, let's not kid ourselves: this is a veerrry looong and veerrry sloooowwww movie, one that's 140 (or in some versions, 160) minutes long but only has about 70 minutes worth of actual plot. The movie's length is pretty much a litmus test for how big a Kubrick fan you are: true believers will most likely find the glacial editing thought-provoking, unsettling, and suspenseful, everyone else is likely to find the pacing boring, uninteresting, or pretentious.
"Seinfeld" Is Unfunny: Some viewers may find that the "Star Gate" sequence reminds them of the audio visualizers in MP3 player software.
The strange, otherworldly "hotel room" with the monolith.
The Star Child.
Special Effects Failure: There are no bad special effects in the movie, but when seen on the big screen some shots are easy to identify as matte paintings or still images being manipulated rather than actual footage of the models. In any other movie, these would go unnoticed, but because the other effects in 2001 are so good, even minor imperfections jump out a little bit.
That said, at the end of the Dawn of Man sequence, as we view the ape man pounding the skeleton with his weapon before throwing it into the air, some of the low-angle shots make it clear that this is an individual in a costume, whereas suspension of disbelief is easier in the scenes leading up to it.
Squick: The novel describes how the man-apes pulled the leopard's tail out by the roots.
Visual Effects of Awesome: This film was made in 1968. And it took five years to make, meaning they started in 1963. Try finding a subsequent non-CGI movie that has better space scenes. Heck, it was made over 40 years before the likes of Gravity and Interstellar but can still give those movies a run for their money!
Hell, even the computers look better than most of what came between this and the CGI era, or even the real life computers from The '80s.
And the technique used to create the "Beyond the Infinite" sequence — a camera trick known as "slit-scan" — was impressive enough to be reused well into the early CGI era. It was later used for ABC's "This is the place to be" ads of the early 1970s, as well as the Whooshing Credits for Superman: The Movie (which improved on 2001's techniques by using a computer-controlled camera) and a whole bunch of pre-CGI motion graphics work in The '80s.
The floating pen deserves to be mentioned as it is awesome in its simplicity; they simply used scotch tape to tape the pen to a sheet of glass, then rotated the glass around.
"Weird Al" Effect: As time progresses, it becomes more likely that the first time somebody will see something related to the film will be as a Shout-Out made in another more current work rather than in the movie itself.
What Do You Mean, It Wasn't Made on Drugs?: The film's climax. Don't forget this was the late 1960s, too; many, many hippies saw it just to see that one sequence. Clarke (who didn't even drink alcohol, let alone use drugs) related an anecdote in which he was handed an envelope with a letter of thanks and an assurance that the remaining contents — a white powder — were "the best stuff". (He flushed it down the toilet.)
The filmmakers, or at least the distributors, apparently knew damn well who the movie's audience was; one of the ad campaigns was a poster with the tagline, "The Ultimate Trip."