Douglas Trumbull Movies

Stanley Kubrick was one of the most acclaimed and controversial filmmakers of his generation, but he was also an intensely private man who rarely gave interviews and produced most of his films under a shroud of secrecy, which tended to foster a great deal of rumor and speculation about his working methods. Jan Harlan, who worked as Kubrick's assistant and executive producer on several projects (and was also his brother-in-law), directed this documentary, which offers a rare in-depth look into Kubrick's career as a filmmaker, structured around interviews with a number of actors, writers, technicians, composers, friends, and family who speak on the record about his relentless perfectionism, his creative vision, his life both on and off the set, his relationships with actors, his unrealized projects, and his importance and influence as an artist. Among those who share their thoughts in Stanley Kubrick -- A Life In Pictures are actors Jack Nicholson, Tom Cruise, Nicole Kidman, Malcolm McDowell, Peter Ustinov, and Keir Dullea; writers Arthur C. Clarke and Michael Herr; special effects artist Douglas Trumbull; composers Wendy Carlos and Gyorgy Ligeti; filmmakers Woody Allen, Martin Scorsese, Steven Spielberg, Paul Mazursky, and Sydney Pollack; and Kubrick's spouse Christiane Kubrick. Stanley Kubrick -- A Life In Pictures was originally produced as a television project, to be aired in three parts, though the project was shown in its entirety at the 2001 Berlin Film Festival. ~ Mark Deming, Rovi

Natalie Wood made her last screen appearance in Brainstorm; in fact, she died before the film was completed, necessitating extensive rewrites. Wood's character is secondary to the one played by Christopher Walken. A research scientist, Walken has been experimenting with a revolutionary brain-reading device. This wondrous machine is able to read a person's thought processes and translate these to videotape. When Walken wants to study the brainwaves of his late partner Louise Fletcher, he finds himself seriously at odds with his superiors-not to mention several ominous-looking government types, headed by Cliff Robertson. ~ Hal Erickson, Rovi

When plans to launch a second Star Trek television series in the late 1970s were scrapped by Paramount Pictures, the show's creator, Gene Roddenberry, instead transformed the aborted program's 2-hour pilot into this big budget theatrical feature. Five years after the legendary voyages of the starship Enterprise, James T. Kirk (William Shatner) is an unhappy, desk-bound admiral at Starfleet headquarters. Kirk goes aboard his old vessel to observe its re-launch under new captain Will Decker (Stephen Collins). Soon, however, an escalating crisis causes Kirk to take command of his old ship. A mysterious, planet-sized energy force of enormous power is headed for Earth. Reunited with Spock (Leonard Nimoy), Dr. Leonard "Bones" McCoy (DeForest Kelley), and the rest of his former colleagues, Kirk takes the Enterprise inside the massive energy cloud and discovers that it is the long-lost NASA space probe Voyager. Now a sentient being after accumulating centuries of knowledge in its deep space travels, the alien, which calls itself V'ger, has come home seeking its creator. Although not a critical home run, box office receipts for Star Trek: The Motion Picture (1979) were strong enough to inspire a revamped television series and a long-running line of theatrical sequels. ~ Karl Williams, Rovi

Bruce Dern stars as the caretaker of a greenhouse located on a group of space stations that are sent into orbit. The Earth has been stripped clean of foliage, and the greenhouse contains the last remaining greenery from the planet. Dern's staff includes three human beings and a trio of endearing robots named Huey, Dewey, and Louie. When word arrives, from the powers that be, that the greenhouse is to be destroyed (the space station is more valuable to man when hauling cargo and not "preserving the ecology of the universe"), Dern decides to ignore the order. He also decides to go it alone, "circle the wagons" with his robots, and fend off all outside attempts to eliminate his ecological paradise. Special-effects maven Douglas Trumbull directs, Michael Cimino was one of the screenwriters, and Peter "PDQ Bach" Schickele wrote the musical score. ~ Hal Erickson, Rovi

A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path.

Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission.

With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. ~ Lucia Bozzola, Rovi