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

2019-11-10T11:25:34+00:00July 16th, 2019|Categories: CINEMA|Tags: , , , , |

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.


2018-07-23T09:36:06+01:00July 23rd, 2018|Categories: HISTORY, JOURNALISM|Tags: , , |

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.

Spartacus (1960) – Review by Eugene Archer

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

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 [...]

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

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

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]

2018-02-02T14:34:57+00:00May 2nd, 2017|Categories: CINEMA|Tags: , , , , |

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.