Stanley-Kubrick Movie Reviews

Despite the fact that Lee Ermey once was an actual Marine D.I. and likely found his role not too difficult, I am deeply disappointed that he wasn't even considered for an Academy Award nomination for his part in the film.

I'm sorry to say I don't find the second part of FMJ to be nearly as engaging as the first. I usually just watch the Parris Island basic training part, and when that ends, rewind (okay, technically, you don't rewind a DVD), and watch the first half again. I really don't care about any "deeper meaning" that the second act might hold, I just want to see Hartman get on Private Joker's case again...

Hey, it's kind of like watching a full-length movie...

Despite the fact that Lee Ermey once was an actual Marine D.I. and likely found his role not too difficult, I am deeply disappointed that he wasn't even considered for an Academy Award nomination for his part in the film.

I'm sorry to say I don't find the second part of FMJ to be nearly as engaging as the first. I usually just watch the Parris Island basic training part, and when that ends, rewind (okay, technically, you don't rewind a DVD), and watch the first half again. I really don't care about any "deeper meaning" that the second act might hold, I just want to see Hartman get on Private Joker's case again...

Hey, it's kind of like watching a full-length movie...

Despite the fact that Lee Ermey once was an actual Marine D.I. and likely found his role not too difficult, I am deeply disappointed that he wasn't even considered for an Academy Award nomination for his part in the film.

I'm sorry to say I don't find the second part of FMJ to be nearly as engaging as the first. I usually just watch the Parris Island basic training part, and when that ends, rewind (okay, technically, you don't rewind a DVD), and watch the first half again. I really don't care about any "deeper meaning" that the second act might hold, I just want to see Hartman get on Private Joker's case again...

Hey, it's kind of like watching a full-length movie...

Despite the fact that Lee Ermey once was an actual Marine D.I. and likely found his role not too difficult, I am deeply disappointed that he wasn't even considered for an Academy Award nomination for his part in the film.

I'm sorry to say I don't find the second part of FMJ to be nearly as engaging as the first. I usually just watch the Parris Island basic training part, and when that ends, rewind (okay, technically, you don't rewind a DVD), and watch the first half again. I really don't care about any "deeper meaning" that the second act might hold, I just want to see Hartman get on Private Joker's case again...

Hey, it's kind of like watching a full-length movie...

This atmospheric thriller is sure to creep you out with its pacing, eery editing and cinematography (those tracking shots are highly effective), and Jack Nicholson's powerful performance as Jack Torrance. Horror films often tend to divide audiences into genre fans who follow the gore and those who laugh in the face of so-called scares, insisting their own resiliancy to cheap thrills and lamebrain plotting.

Fortunately, "The Shining" doesn't make you take sides, because its chills come from plotting and character study as much as they do from odd sights that will make you jump. It may stray from Stephen King's book and not all of it may make sense, but "The Shining" has so much going for it that you won't mind. It's a gripping and satisfying film experience, and in my opinion, one of the best films of the '80s.

This Warner DVD re-release is definitely the version to get. The fullframe presentation comes at the wishes of Kubrick and the video and audio offer significant improvement over the drab initial release. (Unfortunately, the original Mono audio track has been dropped altogether in favor of an effective 5.1 remix. They could have included both with no problem.)

In the way of extras, there is an engaging half-hour on-set documentary, filmed by Kubrick's daughter Vivian. It provides a candid experience of the film's creation, and interviews with some of the actors. In addition, this DVD re-release includes an audio commentary on the documentary (sort of a "making-of the making-of") by Vivian Kubrick. There's also the spooky trailer, which shows how a movie preview can perfectly pique one's interest in a film, without spoiling (or even saying) much.

The ONLY thing I hate about "The Shining" is Shelly Duvall as Wendy Torrance. She must be one of the worse actresses I've ever seen, next to Britney Spears and Mariah Carrey. I think they should've cast someone else as Wendy Torrance then whiny and pathedic actress Shelly Duvall. :-P

This atmospheric thriller is sure to creep you out with its pacing, eery editing and cinematography (those tracking shots are highly effective), and Jack Nicholson's powerful performance as Jack Torrance. Horror films often tend to divide audiences into genre fans who follow the gore and those who laugh in the face of so-called scares, insisting their own resiliancy to cheap thrills and lamebrain plotting.

Fortunately, "The Shining" doesn't make you take sides, because its chills come from plotting and character study as much as they do from odd sights that will make you jump. It may stray from Stephen King's book and not all of it may make sense, but "The Shining" has so much going for it that you won't mind. It's a gripping and satisfying film experience, and in my opinion, one of the best films of the '80s.

This Warner DVD re-release is definitely the version to get. The fullframe presentation comes at the wishes of Kubrick and the video and audio offer significant improvement over the drab initial release. (Unfortunately, the original Mono audio track has been dropped altogether in favor of an effective 5.1 remix. They could have included both with no problem.)

In the way of extras, there is an engaging half-hour on-set documentary, filmed by Kubrick's daughter Vivian. It provides a candid experience of the film's creation, and interviews with some of the actors. In addition, this DVD re-release includes an audio commentary on the documentary (sort of a "making-of the making-of") by Vivian Kubrick. There's also the spooky trailer, which shows how a movie preview can perfectly pique one's interest in a film, without spoiling (or even saying) much.

The ONLY thing I hate about "The Shining" is Shelly Duvall as Wendy Torrance. She must be one of the worse actresses I've ever seen, next to Britney Spears and Mariah Carrey. I think they should've cast someone else as Wendy Torrance then whiny and pathedic actress Shelly Duvall. :-P

This atmospheric thriller is sure to creep you out with its pacing, eery editing and cinematography (those tracking shots are highly effective), and Jack Nicholson's powerful performance as Jack Torrance. Horror films often tend to divide audiences into genre fans who follow the gore and those who laugh in the face of so-called scares, insisting their own resiliancy to cheap thrills and lamebrain plotting.

Fortunately, "The Shining" doesn't make you take sides, because its chills come from plotting and character study as much as they do from odd sights that will make you jump. It may stray from Stephen King's book and not all of it may make sense, but "The Shining" has so much going for it that you won't mind. It's a gripping and satisfying film experience, and in my opinion, one of the best films of the '80s.

This Warner DVD re-release is definitely the version to get. The fullframe presentation comes at the wishes of Kubrick and the video and audio offer significant improvement over the drab initial release. (Unfortunately, the original Mono audio track has been dropped altogether in favor of an effective 5.1 remix. They could have included both with no problem.)

In the way of extras, there is an engaging half-hour on-set documentary, filmed by Kubrick's daughter Vivian. It provides a candid experience of the film's creation, and interviews with some of the actors. In addition, this DVD re-release includes an audio commentary on the documentary (sort of a "making-of the making-of") by Vivian Kubrick. There's also the spooky trailer, which shows how a movie preview can perfectly pique one's interest in a film, without spoiling (or even saying) much.

The ONLY thing I hate about "The Shining" is Shelly Duvall as Wendy Torrance. She must be one of the worse actresses I've ever seen, next to Britney Spears and Mariah Carrey. I think they should've cast someone else as Wendy Torrance then whiny and pathedic actress Shelly Duvall. :-P

It's an epic drama about the rise and fall of an Irish rogue in the late 18th century. Lavishly photographed, using only natural light, real costumes, good acting (with possible exception of Ryan O'Neal), but somehow lacking the Kubrick feel. It's a pretty conventional film. There's nothing really outlandish about it. However, being written (based on a 19th century novel), produced and directed by the man, it is undeniably a Stanley Kubrick film and deserves attention as such. Perhaps the most Kubrickian (if I may use the term) thing about Barry Lyndon is how un-Kubrick-like it is. Audiences had come to expect the unexpected from Kubrick, and what would be more unpredictable than to follow-up a film like A Clockwork Orange with a costume epic set in the 18th century? That's the way he was. Always taking the divergent path.

Now, regarding the film itself, it's very well made, not surprising considering its creator. The story of Redmond Barry is interesting, particularly in its historical context. Several wonderful scenes alone make the film worth watching. A small battle scene during the Seven Years War, the card-playing scenes, and the duel between Barry and his stepson near the end. There are some sporadic scenes with dazzling camera work and Kubrick manages to sneak in a couple of his tracking shots. The film is leisurely paced, as nearly all Kubrick films, but interest is always maintained.

I don't think that anyone would claim Barry Lyndon Kubrick's greatest achievement, but it is a remarkable achievement nonetheless. Perhaps more accessible to mainstream audiences than his typical work, Barry Lyndon is definitely an enjoyable experience for fans of Kubrick, but perhaps more so for fans of lavish costume epics. So enjoy it for what it is, just don't expect any of the old ultraviolence.

Ryan O'Neal is the unlikely star, and he does a good job, rising from humble Irish origins to the decadence of titled wealth, employing a two-fisted competence in the manly arts, including some soldiering, some thievery at cards and a presumed consummate skill in the bedroom. Marisa Berenson plays Lady Lyndon, whom Barry has managed to seduce; and when her elderly husband dies, she marries Barry thus elevating his social and economic station in life. But Barry is rather clumsy at playing at peerage, and bit by bit manages to squander most of the Lyndon fortune until his stepson, Lord Bullingdon (Leon Vitali) grows old enough to do something about it.

This really is a gorgeous movie thanks to the exquisite sets and costumes and especially to John Alcott's dreamy cinematography and a fine score by Leonard Rosenman. The 184 minutes go by almost without notice as we are engrossed in the rise and fall of Barry's fortunes. There is fine acting support from Patrick Magee as the Chevalier de Balibari and Leonard Rossiter as Captain Quinn, and a number of lesser players, who through Kubrick's direction bring to life Europe around the time of the Seven Years War (1754-1763) when decadence and aristocratic privilege were still in full flower.

The script features two dueling scenes, the first showing the combatants firing at one another simultaneously at the drop of a white kerchief, the second has Barry and his stepson face each other ten paces apart, but due to the flip of a coin, the stepson fires first. Both scenes are engrossing as we see the loading of the pistols with powder, ball and ramrod, and we are able to note how heavy the pistols are and how difficult it must be to hit a silhouette at even a short distance. It is this kind of careful attention to directional detail that absorbs us in the action and makes veracious the story. Notice too the way the British soldiers march directly en mass toward the French guns. They actually used to fight battles that way! Also note the incredible pile of hair atop Lady Lyndon's head. Surely this is some kind of cinematic record.

Bottom line: one of Kubrick's best, certainly his most beautiful film.

It's an epic drama about the rise and fall of an Irish rogue in the late 18th century. Lavishly photographed, using only natural light, real costumes, good acting (with possible exception of Ryan O'Neal), but somehow lacking the Kubrick feel. It's a pretty conventional film. There's nothing really outlandish about it. However, being written (based on a 19th century novel), produced and directed by the man, it is undeniably a Stanley Kubrick film and deserves attention as such. Perhaps the most Kubrickian (if I may use the term) thing about Barry Lyndon is how un-Kubrick-like it is. Audiences had come to expect the unexpected from Kubrick, and what would be more unpredictable than to follow-up a film like A Clockwork Orange with a costume epic set in the 18th century? That's the way he was. Always taking the divergent path.

Now, regarding the film itself, it's very well made, not surprising considering its creator. The story of Redmond Barry is interesting, particularly in its historical context. Several wonderful scenes alone make the film worth watching. A small battle scene during the Seven Years War, the card-playing scenes, and the duel between Barry and his stepson near the end. There are some sporadic scenes with dazzling camera work and Kubrick manages to sneak in a couple of his tracking shots. The film is leisurely paced, as nearly all Kubrick films, but interest is always maintained.

I don't think that anyone would claim Barry Lyndon Kubrick's greatest achievement, but it is a remarkable achievement nonetheless. Perhaps more accessible to mainstream audiences than his typical work, Barry Lyndon is definitely an enjoyable experience for fans of Kubrick, but perhaps more so for fans of lavish costume epics. So enjoy it for what it is, just don't expect any of the old ultraviolence.

Ryan O'Neal is the unlikely star, and he does a good job, rising from humble Irish origins to the decadence of titled wealth, employing a two-fisted competence in the manly arts, including some soldiering, some thievery at cards and a presumed consummate skill in the bedroom. Marisa Berenson plays Lady Lyndon, whom Barry has managed to seduce; and when her elderly husband dies, she marries Barry thus elevating his social and economic station in life. But Barry is rather clumsy at playing at peerage, and bit by bit manages to squander most of the Lyndon fortune until his stepson, Lord Bullingdon (Leon Vitali) grows old enough to do something about it.

This really is a gorgeous movie thanks to the exquisite sets and costumes and especially to John Alcott's dreamy cinematography and a fine score by Leonard Rosenman. The 184 minutes go by almost without notice as we are engrossed in the rise and fall of Barry's fortunes. There is fine acting support from Patrick Magee as the Chevalier de Balibari and Leonard Rossiter as Captain Quinn, and a number of lesser players, who through Kubrick's direction bring to life Europe around the time of the Seven Years War (1754-1763) when decadence and aristocratic privilege were still in full flower.

The script features two dueling scenes, the first showing the combatants firing at one another simultaneously at the drop of a white kerchief, the second has Barry and his stepson face each other ten paces apart, but due to the flip of a coin, the stepson fires first. Both scenes are engrossing as we see the loading of the pistols with powder, ball and ramrod, and we are able to note how heavy the pistols are and how difficult it must be to hit a silhouette at even a short distance. It is this kind of careful attention to directional detail that absorbs us in the action and makes veracious the story. Notice too the way the British soldiers march directly en mass toward the French guns. They actually used to fight battles that way! Also note the incredible pile of hair atop Lady Lyndon's head. Surely this is some kind of cinematic record.

Bottom line: one of Kubrick's best, certainly his most beautiful film.