Fairy tales can come true. Spielberg the historian is in remission; Steven the regressive has returned, with a vengeance. An occasionally spectacular, fascinatingly schizoid, frequently ridiculous, and never less than heartfelt mishmash of Pinocchio and Oedipus, Stanley Kubrick and Creation of the Humanoids, Spielberg’s A.I. Artificial Intelligence is less a movie than a seething psychological bonanza.
The Servant is a genuinely shocking experience for audiences with the imagination to understand the dimensions of the shock. In years to come The Servant may be cited as a prophetic work making the decline and fall of our last cherished illusions about ourselves and our alleged civilization.
The best thing about Eyes Wide Shut may be its title, but anyone planning to see Stanley Kubrick’s long-awaited, posthumously released swan song is advised to go with their eyes open.
Let me report simply that A Clockwork Orange manifests itself on the screen as a painless, bloodless, and ultimately pointless futuristic fantasy.
Once Upon a Time in the West is Sergio Leone’s most American Western, but it is still dominantly and paradoxically European in spirit, at one and the same time Christian and Marxist, despairing and exultant, nihilistic and regenerative.
Barry Lyndon is the loveliest of Stanley Kubrick’s films. Indeed, it’s the one Kubrick movie that could even invite that adjective (or epithet).
Andrew Sarris famously panned Stanley Kubrick’s 2001: A Space Odyssey, then reversed himself after seeing it under the influence.
I am convinced that The Godfather could have been a more profound film if Coppola had shown more interest (and perhaps more courage) in those sections of the book which treated crime as an extension of capitalism and as the sine qua non of showbiz.