In essence, Dark Star has what all great comedy has: a sense of desperation and pathos allied to an abiding humanity which elevates it high above the realm of mere spoof.
The special effects vacillate between defiantly shitty and endearingly resourceful, and Carpenter and O’Bannon's sense of humor covers a similarly narrow ground between Loony Tunes goofiness and dorm-room stoned.
Carpenter creates a vision of the technological future that is both disillusioned and oddly affirmative in its insistence on the unscientific survival of emotional frailty.
Dark Star has a stoner sardonicism: The movie feels like the product of long nights at the dorm passing around The Fabulous Furry Freak Brothers comics and Arthur C. Clarke paperbacks.
There are some funny routines here, though Mr. Carpenter doesn't seem to have cared much about integrating or sustaining them. Mr. Carpenter makes his amateurishness unmistakable, especially when it comes to the film's four actors. Only one of them can act even crudely (fortunately, his is the largest role). The other three, neither photogenic nor particularly extroverted, look like well-meaning fraternity brothers helping out a pal with his class project.
Dark Star is a limp parody of Stanley Kubrick's 2001: A Space Odyssey that warrants attention only for some remarkably believable special effects achieved with very little money. The dim comedy consists of sophomoric notations and mistimed one-liners.