Full Metal Jacket is not cold. It is not bitter. It is not distanced from its subject. It does not suffer from too many retakes, nor from an excess of directorial control. It is moving. It is angry and fast. It is, at times, hilarious.
Novelist of ‘Nothing Natural’, Jenny Diski, watches a video of the first ‘Cape Fear’ and the Scorsese remake - and compares them
Not since Shakespeare called for “a muse of fire” in Henry V and Olivier provided the light of an arc-rod projector has there been such an interesting opportunity to examine the relations between film and theater as David Lynch’s The Elephant Man.
To be blunt about it, it's impossible at this moment to separate thoughts and feelings about Stanley Kubrick's Eyes Wide Shut from the fact of his death. Or to put it another way, Kubrick's death is the closure that his final film, for better or worse, resists to the last.
How are we supposed to watch Eyes Wide Shut? Really, how are we supposed to watch any Stanley Kubrick movie? Apprehension of so many of them has shifted between initial reviewing and years of re-viewing, of reconsideration from the vantage of a culture changed, often as not, by the films themselves.
A wide, startlingly vivid view of a Mafia dynasty, in which organized crime becomes an obscene nightmare image of American free enterprise. The movie is a popular melodrama with its roots in the gangster films of the 30s, but it expresses a new tragic realism, and it's altogether extraordinary.
It may be about time for movies to realize that they aren’t realistic. They are, for all the reality of their locales and of their actors and of their circumstances, only representations of reality and nothing more.
Although Peckinpah’s general attitudes turn out to be reactionary to the point of madness, he has never functioned better as a filmmaker: Straw Dogs is a hateful but very exciting movie.