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Adams - Stanley Kubrick Films

Mattermap door Shane Adams 08 mei 2017

What is the best Stanley Kubrick film?

  • 2001: A Space Odyssey

    • Seeing this 1968 masterpiece in 70-millimeter, digitally restored and with remastered sound, provides an ideal opportunity to rediscover this mind-blowing myth of origin as it was meant to be seen and heard, an experience no video setup, no matter how elaborate, could ever begin to approach. The film remains threatening to contemporary studiothink in many important ways: Its special effects are used so seamlessly as part of an overall artistic strategy that, as critic Annette Michelson has pointed out, they don't even register as such. Dialogue plays a minimal role, yet the plot encompasses the history of mankind ...»
      Jonathan Rosenbaum Chicago Reader Bron: Chicago Reader 08/05/2007
    • With the whole screen glittering in an ever-changing pattern of diagrams and equations from instrument panels and monitor screens, a ballet of spacecraft performing lazy orbits in the sky to the strains of the Blue Danube Waltz, and its astronauts wrapped up like jelly-babies for long-distance hibernation in blue mummy-cases, this really is a brave new world of the machines. As such, not to be missed. ...»
      Tom Milne The Guardian Bron: The Guardian 08/05/1968
    • You can watch "2001" as a visual journey with nary a thought for what's under the surface or you can plunge into this vortex of interpretations. The great thing about "2001" is that either approach works fine. That's why it endures. ...»
      Desson Howe Washington Post Bron: Washington Post 02/11/2001
    • Perhaps the beauty of 2001 is appreciating that some of the best stories are the ones that are half-told the provocation away from passive observance to determined interpretation is often as dazzling and frightening as the film’s psychedelic trip through the intergalactic portal. 2001 really doesn’t end it keeps going with the viewer long after the closing credits wrap. And that is, truly, the greatest cinematic gift imaginable. ...»
      Phil Hall Film Snobbery Bron: Film Snobbery 16/09/2010
  • Full Metal Jacket

    • Although the elements of the story are simple and precise, Kubrick infuses a dreamlike, fatalistic quality. Sometimes the characters come alive, other times they seem like so many props for Kubrick's smoldering landscapes and tracking camera movements. ...»
      Desson Howe Washington Post Bron: Washington Post 26/06/1987
    • The movie has great moments. Ermey's speech to his men about the great marine marksmen of the past (Charles Whitman and Lee Harvey Oswald among them) is a masterpiece. The footage on the Paris Island obstacle course is powerful. But "Full Metal Jacket" is uncertain where to go, and the movie's climax, which Kubrick obviously intends to be a mighty moral revelation, seems phoned in from earlier war pictures. After what has already been said about "Vietnam" in the movies, "Full Metal Jacket" is too little and too late. ...»
      Roger Ebert Roger Ebert Bron: Roger Ebert 27/06/1987
    • I've seen it twice and was equally impressed with the precision of Kubrick`s direction, with his many memorable images: sexual, violent and mournful. It`s a great piece of filmmaking, diminished only by a second act that fails to live up to the first act of the Marines in training. ...»
      Gene Siskel Chicago Tribune Bron: Chicago Tribune 26/06/1987
    • Divided like a rift into two distinct halves, Stanley Kubrick’s examination of the Vietnam conflict found him on unusually inconsistent form; the film is both powerful and frustratingly unengaged.
      Ian Nathan Empire Bron: Empire 01/01/2015
  • The Shining

    • 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. They are being shown through the Overlook, the cavernous, isolated hotel where they and their young son Danny will be spending the winter as caretakers, supposedly without any company. Jack pronounces the place "Cozy!" But still everything in the Overlook signals trouble, trouble that unfolds at a leisurely pace almost as playful as it is hair-raising. Meticulously detailed and never less than fascinating, The Shining may be the first movie that ever made its audience jump with a title that simply says "Tuesday." ...»
      Janet Maslin New York Times Bron: New York Times 23/05/1980
    • The Shining is like a near-miss auto accident: You don’t know how scared you really were until you start shaking a few hours later.
      Ralph Novak People Magazine Bron: People Magazine 30/06/1980
    • Stanley Kubrick's 1980 horror movie completes the cosmology begun in 2001 by turning a specimen (Jack Nicholson) loose in the inner space of a deserted, snowbound hotel. He, too, is reborn--not as a space baby, but as a grinning, wisecracking ax murderer. Kubrick is after a cool, sunlit vision of hell, born in the bosom of the nuclear family, but his imagery—with its compulsive symmetry and brightness—is too banal to sustain interest, while the incredibly slack narrative line forestalls suspense. ...»
      Dave Kehr Chicago Reader Bron: Chicago Reader 08/05/2007
    • All of Stanley Kubrick’s films – be it ‘The Killing’ or ‘Eyes Wide Shut’ – demand to be seen on a big screen. They’re about people trapped in huge, indifferent machines gone wrong, from a heist plot to a spaceship, and only the huge indifference of the cinema does them justice. In ‘The Shining’, the machine is a haunted house: the Overlook Hotel, created by Stephen King and turned by Kubrick into an awry environment in which mental stability, supernatural malignance and the sense of space and time shimmer and warp to terrible effect. ...»
      Ben Walters Time Out Bron: Time Out 06/10/1980
  • A Clockwork Orange

    • But the film plainly belongs to Kubrick. His technical assurance, his command of the media, is remarkable to behold. everything has been strategically planned, from the use of certain music as an ironic counterpoint to the movements of the camera and it all serves Kubrick’s purpose beautifully. His film may offend (it very nearly makes one nauseous) but there is no doubting the fact that it is the end product of a brilliant, highly original mind. ...»
      New York Daily News Bron: New York Dailly News 20/12/1971
    • When we watch Alex sing "Singin' in the Rain" as he kicks and clubs a man we have two reactions: first that Alex is rotten, and second that Kubrick is clever.
      The second reaction, in many but not all
      of the opening six violent scenes, gets in the way of the first. And though it wouldn't be as much fun to watch, I wish for the sake of the film's argument that Alex's initial violence had been presented with more horror and less wit.
      . . . Kubrick's contributions are his wit and his eye. The wit, too much at times, is as biting as in "Dr. Strangelove," and the production, while of another order, is as spectacular as in "2001."
      Gene Siskel Chicago Tribune Bron: Chicago Tribune 11/02/1972
    • If pride of place must go to A Clockwork Orange (Warner, West End, X) it is because this chilling and mesmeric adaptation of the Anthony Burgess novel could well become one of the seminal movies of the seventies. ...»
      Derek Malcolm The Guardian Bron: The Guardian 13/01/1972
    • In my opinion Kubrick has made a movie that exploits only the mystery and variety of human conduct. And because it refuses to use the emotions conventionally, demanding instead that we keep a constant, intellectual grip on things, it's a most unusual--and disorienting--movie experience ...»
      Vincent Canby New York Times Bron: New York Times 09/01/1972
  • Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb

    • From the culture of violence depicted in A Clockwork Orange to the sexual politics examined in Lolita and Eyes Wide Shut to the arrogance and irresponsibility of wartime chicken hawks in Paths of Glory, many of Stanley Kubrick's films have never lost their topicality. The same applies to this brilliant black comedy: Even the ending of the Cold War couldn't dilute this uncompromising satire's immediacy, not so long as men continue to think with their missiles instead of their minds. ...»
      Matt Brunson Creative Loafing Bron: Creative Loafing 03/07/2016
    • Like most of his work, Stanley Kubrick's deadly black satirical comedy-thriller on cold war madness and its possible effects (1964) has aged well: the manic, cartoonish performances of George C. Scott, Sterling Hayden, and Peter Sellers (in three separate roles, including the title part) look as brilliant as ever, and Kubrick's icy contempt for 20th-century humanity may find its purest expression in the figure of Strangelove himself, a savage extrapolation of a then-obscure Henry Kissinger conflated with Wernher von Braun and Dr. Mabuse to suggest a flawed, spastic machine with Nazi reflexes that ultimately turns on itself. ...»
      Jonathan Rosenbaum Chicago Reader Bron: Chicago Reader 08/05/2007
    • Dr. Strangelove may have worked as a serious thriller, but Kubrick knew better. He knew that desperate squeaky helplessness would more strongly reflect on the politics of the day if it were played for laughs. And every single character in the film is, in a very classical sense, a buffoon. This is a film that explores the most serious of topics – the end of the world at our own hands – using the type stock characters one normally encounters in commedia del’arte. ...»
      Witney Seibold Crave Bron: Crave 30/06/2016
    • Dr. Strangelove's status as the movie that confirmed both Stanley Kubrick's reputation and the arrival of beat-sick irreverence can no longer be retracted. Kubrick and co-scripters Peter George and Terry Southern fashioned a goonish-ghoulish portrait of diplomatic insanity that's zippy, ruthless, and cartoonish enough that the flick is worshipped even among those who can't stand Kubrick's later, fastidiously methodical movies. ...»
      Eric Henderson Slant Bron: Slant 15/06/2009