Robert Mulligan’s Summer of ’42 is a memory movie, written, directed and acted with such uncommon good humor that I don’t think you’ll be put off by its sweet soft-focus, at least until you start analyzing it afterwards.
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.
PHNOM PENH—The spectacle of the Americans being evacuated from Cambodia—with helicopters dropping from the skies and stony-faced Marines armed to the teeth protecting the Embassy evacuees from nothing—is perhaps a fair epitaph for American policy in Indochina, or at least in Cambodia.
Luis Buñuel’s brilliant new comedy, The Discreet Charm of the Bourgeoisie (Le Charme Discret de la Bourgeoisie), is so free in form and yet so lucid and wise that it could give the Surrealists a whole new lease on life.
It may be about time for movies to realize that they aren’t realistic. They are, for all the reality of their locales and of their actors and of their circumstances, only representations of reality and nothing more.
Though The Killing is composed of familiar ingredients and it calls for fuller explanations, it evolves as a fairly diverting melodrama.
“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.
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
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
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”).
John Hofsess reviews Stanley Kubrick’s ‘Barry Lyndon’ for The New York Times
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
Martin Scorsese interview with Guy Flatley for ‘The New York Times’, December 1973
Vincent Canby reviews Ridley Scott Si-Fi movie ‘Alien’ (1979). Published in The New York Times, May 25, 19
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.
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.
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.
Vincent Canby reviews Michael Cimino’s “The Deer Hunter” for The New York Times, December 15, 1978
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.
Francis Coppola’s Apocalypse Now lives up to its grand title, disclosing not only the various faces of war but also the contradictions between excitement and boredom, terror and pity, brutality and beauty.