THE KILLING (1956) – Review by A.H. Weiler

2017-12-12T15:52:10+00:00December 12th, 2017|Uncategorised|

Though The Killing is composed of familiar ingredients and it calls for fuller explanations, it evolves as a fairly diverting melodrama.

READY FOR VIETNAM? A TALK WITH MICHAEL CIMINO

2019-11-08T16:13:47+00:00November 25th, 2017|CINEMA|

“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

2019-12-01T17:53:52+00:00August 30th, 2017|CINEMA|

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 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 [...]

NOTES ON SEEING ‘BARRY LYNDON’ – by Harold Rosenberg

2017-08-09T13:40:27+01:00August 9th, 2017|CINEMA|

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

2019-11-10T11:29:05+00:00July 5th, 2017|CINEMA|

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").