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.
Janet Maslin reviews Francis Ford Coppola’s ‘The Godfather’. Published in Boston After Dark, 1972 March 28
Stanley Kubrick’s Full Metal Jacket establishes its grip on the viewer’s attention instantaneously, with an opening scene in which young recruits are shorn by an off-screen Marine Corps barber, while a corny, lulling song is heard in the background (“Kiss me goodbye and write me when I’m gone/Goodbye sweetheart, hello Vietnam”).
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
Seen today, in the lovingly restored 197-minute version now playing at the Ziegfeld, the two-tiered historical pageant that is Spartacus says at least as much about America in the late 1950’s as it does about ancient Rome.
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?
The Shining, Stanley Kubrick’s spellbinding foray into the realm of the horror film, is at its most gloriously diabolical as Jack and Wendy Torrance take the grand tour.