The New York Times

Eyes Wide Shut (1999) Tom Cruise e Nicole Kidman

Eyes Wide Shut (1999) – Review by Janet Maslin [The New York Times]

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.


“Look, the film is not realistic — it’s surrealistic. Even the landscape is surreal. For example, the little steel town we called Clairton is composed of eight different towns in four states. You can’t find that town anywhere — it doesn’t exist. And time is compressed.

Spartacus (1960) – Review by Eugene Archer

Hailed in Farewell by Eugene Archer Critics have always debated the correct way to apportion the credit for a multi-million-dollar production among producers, writers, actors

NOTES ON SEEING ‘BARRY LYNDON’ – by Harold Rosenberg

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

Full Metal Jacket - Private Joker (Matthew Modine)

Full Metal Jacket (1987) – Review by Janet Maslin [The New York Times]

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 GODFATHER – Review by Vincent Canby [The New York Times]

Taking a best-selling novel of more drive than genius (Mario Puzo’s The Godfather), about a subject of something less than common experience (the Mafia), involving an isolated portion of one very particular ethnic group (first-generation and second-generation Italian-Americans), Francis Ford Coppola has made one of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment.

PATHS OF GLORY – Review by Bosley Crowther

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.

DR. STRANGELOVE – Review by Bosley Crowther

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.

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