2001: Odissea nello spazio non somiglia a nessun film di fantascienza o di fantapolitica finora realizzato. Perché non è un film di fantascienza in nessun senso del termine, ma semplicemente un discorso sull’uomo, l’uomo di sempre.
Eyes Wide Shut is the work of an artist who long ago stopped paying attention to the world around him. If you are someone who cares about film culture, you will want to see it anyway, perhaps more than once. Respect for the rest of Kubrick’s work would demand no less.
Lolita is a film that runs steadily downhill at too slow a pace for a needless two and a half hours.
The great merit of Dr. Strangelove is its bad taste. It is silly to argue that we have the right to say anything we want but that to exercise this right is the height of irresponsibility. Responsible art is dead art, and a sane (no pun intended) film on the bomb would have been a deadly bore.
Dr. Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb is one of the most cogent, comic, and cruel movies to come along in many a year, and one of the best.
Dr. Strangelove developed in us an embryonic skepticism for what was beginning to be called the “military establishment,” and it fostered a growing skepticism about authority everywhere.
by Bosley Crowther In light of the phenomenal popularity of George Lukas’ 1977 Star Wars, which seems to have done for science fiction movies what
Whatever tempted Kubrick to adapt the novel A Clockwork Orange and deal with its extraordinary difficulties, his methods of rising to their challenges were equally extraordinary in themselves—so much so that he ended up creating a film that is richer than its source in texture and, in its extension and development of certain thematic implications, more resonant as well.
A director is a kind of idea and taste machine; a movie is a series of creative and technical decisions, and it’s the director’s job to make the right decisions as frequently as possible. Shooting a movie is the worst milieu for creative work ever devised by man.
Beautiful pictures are not film style. Kubrick’s latter-day work is solipsist and smug, isolated and sterile. For me Barry Lyndon is an anti-film, a gorgeous, stultified bore.
Kubrick’s future shock satire, A Clockwork Orange, is twice the movie it was accused of being
In this essay on The Shining, Paul Miers asserts that “to understand Kubrick’s achievement one must attempt a reading of the mass-market book on which it is based.”
D’avance, nous savions que ce serait un événement. Parce que les dix millions de dollars dépensés garantissaient la qualité du spectacle et nous promettaient ce récital d’effets spéciaux, cette fête de l’imaginaire, ce plongeon dans l’inconnu dont le cinéma de SF nous frustre régulièrement.
Stanley Kubrick was determined the design for his ‘definitive attempt’ at the science-fiction film should represent a decisive break with Hollywood norms — and who better to enlist to his cause than a pair of spacecraft consultants poached from the very heart of NASA itself?
These are four key scenes from the main sections of 2001: A Space Odyssey, a film that can be considered, with some reservations, a cinematic milestone in both the technical achievement and in its aesthetic exposition.
Given the grippingly bizarre settings and situations that Stanley Kubrick’s films favored, what could be more startling than the scene that opens “Eyes Wide Shut”? It’s only the sight of two people who resemble glamorous movie stars getting ready for a black-tie party.
Nicole Kidman is dawdling before the mirror, naked except for her eyeglasses and an earring that’s giving her trouble. She fusses with it, but languorously, as might be expected amid her gilded surroundings. They suggest the kind of hotel where each room is a scaled-down version of the queen’s bedchamber at Versailles. The lamps bathe Ms. Kidman in flattery…
In this essay, Sobchack explores Kubrick’s use of décor to emphasize the theme of violence in A Clockwork Orange
Barry Lyndon mette in scena una società violenta, ferocemente classista, dove l’avventuriero gode di una libertà effimera e viene presto emarginato e distrutto. Arricchito dalla più bella fotografia che si sia vista al cinema, il film comunica con stoicismo un sentimento amaro dell’esistenza e della storia.
Stanley Kubrick ha equamente ripartito il film tra un’immagine agghiacciante del futuro e il grigiore dell’establishment antiquato e cadente. Per ripeterci che l’uomo non può migliorare, il regista ha fatto riecheggiare il romanzo di Burgess in una cassa armonica dagli effetti stereofonici.
Paths of Glory finds Kubrick dealing in the wider realm of ideas with a relevance to man and society. Without casting off any of his innate irony and skepticism, the director declares his allegiance to his fellow men.
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