by Bosley Crowther The vast attention that Bernardo Bertolucci’s Last Tango in Paris received while it was several months in the making and when it
by Gerard Fay Stanley Kubrick is unusual among American film directors for a complete lack of flamboyance. He dresses without distinction, talks quietly and modestly,
by Don Daniels Stanley Kubrick’s films seem to provoke the kind of mindless praise and attack that is called ‘controversy’ these days. In the case
“When the legend becomes fact,” says the canny newspaper editor in John Ford’s The Man Who Shot Liberty Valance, “print the legend.” Sam Peckinpah is
This mediocre movie seems destined to be a tidal wave of a hit. Spielberg, who was perhaps the greatest of all pure, escapist movie directors, is being acclaimed for turning into a spiritual simp.
by Pauline Kael At the end of The Godfather Part II (1974), the story was complete—beautifully complete. Francis Ford Coppola knew it, and for over
by Pauline Kael Martin Scorsese’s GoodFellas has a lift. It’s like Raging Bull, except that it’s not domineering. It’s like Raging Bull made in a
Pauline Kael reviews Sam Peckinpah’s “Convoy”
by Michael Dempsey In director Ridley Scott’s $30-million noir thriller, Blade Runner, set in Los Angeles 36 years from now, sophisticated new robots known as
In a December 1975 cover story, TIME Magazine examines Barry Lyndon and the many paradoxes of Stanley Kubrick, covering the filmmaker’s Herculean task in bringing the 18th century novel by William Makepeace Thackeray to the screen and the near impossibility of selling a three hour art film spectacle to the masses.
For a director like Stanley Kubrick, a novel like Anthony Burgess’s A Clockwork Orange must have seemed an irresistible challenge. Kubrick is essentially a daring imagist, yet he has twice before been tempted by projects that pose powerful problems of language for the film maker.
The Garden of the Finzi-Continis has correctly been hailed as a return to the old, great form of its director, Vittorio De Sica.
Dilys Powell reviews Stanley Kubrick’s ‘A Clockwork Orange’
Dilys Powell review of Stanley Kubrick’s ‘Barry Lyndon’
Dilys Powell reviews ‘2001: A Space Odyssey’ by Stanley Kubrick
Dilys Powell reviews Stanley Kubrick’s Dr Strangelove
Dilys Powell reviews Federico Fellini’s ‘La Dolce Vita’
After nearly thirty years, then, of playing one character in one set of clothes, Chaplin takes on a double role. The subject of the film is thus new to him, or shall we say it is a new and advanced branch of his old subject, the dictatorship of the powerful and cruel over the humble and the dispossessed?
di Paolo Taggi A quattordici anni un ragazzo decide di scegliere il silenzio. Da quel momento può fare a meno delle proprie parole e comunica
di Pietro Bianchi È difficile dire quale fosse la precisa intenzione del regista Stanley Kubrick quando decise di fare un film, Arancia meccanica, dal romanzo
Shoeshine, written by Cesare Zavattini, is a social protest film that rises above its purpose. It is a lyric study of how two boys betrayed by society betray each other and themselves