by Eugene Archer Critics have always debated the correct way to apportion the credit for a multi-million-dollar production among producers, writers, actors and corps of technicians, but Stanley Kubrick, the youthful director of Spartacus, has no such doubts. If any critical bouquets are available after the elaborate costume spectacle opens [...]
Kubrick's Barry Lyndon is a lot more than a substitute for an allbutforgotten tale. The movie also translates the printed page into art for the eye and the ear by coordinating the story with the paintings, music and landscaping of the period
The view of the future offered by Ridley Scott's muddled yet mesmerizing 'Blade Runner' is as intricately detailed as anything a science-fiction film has yet envisioned
To a certain extent, this forthright picture has the impact of hard reality, mainly because its frank avowal of agonizing, uncompensated injustice is pursued to the bitter, tragic end.
Stanley Kubrick's new film, called Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, is beyond any question the most shattering sick joke I've ever come across.
Stanley Kubrick, once again leaves his audiences asking a familiar question: How can anyone make a film so fastidiously beautiful and still leave so many loose ends?