Word: kubrick
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...unworthy of examination as that no one has had anything new to say about it since Dr. Strangelove; or, How I Learned to Stop Worrying and Love the Bomb. Just look at the details: Colonel Jack D. Ripper, the good doctor, the Soviet doomsday machine. Not only did Kubrick do nuclear armageddon first, he did it right, eschewing white-knuckled sentimental despair for ballsy black comedy--and unlike Kopit's play, Kubrick delivers on his premise with the end of the world...
...fountainhead for a freshet of Viet Nam exploration: We Can Keep You Forever, a BBC documentary about the mystery surrounding MIAs, will be aired Wednesday in 21 U.S. cities, and this spring will see two new movies set in Viet Nam, The Hanoi Hilton and Stanley Kubrick's Full Metal Jacket. In a movie season of Trekkies, Dundees and dentist-devouring houseplants, Oliver Stone has proved that a film can still roil the blood of the American body politic. Platoon the picture is now Platoon the phenomenon...
...since Slim Pickens rode a rocket to Russia in Dr. Strangelove, Stanley Kubrick's Cold War comedy classic, has a film stared so unabashedly down the throat of Armageddon. But whereas Dr. Strangelove's power stems from the way Kubrick's finger flirts with the Little Red Button, Tarkovsky presses the button down, then holds it, firmly, for two-and-a-half hours. The result is a film as difficult to assess as the Bomb itself, generating shockwaves of a political, moral, historical, and spiritual nature. The Sacrifice almost demands too much of the viewer, pushing him from breakdown...
...amateurish performers; the floodlighted hotel is about as frightening as the set of a Fred Astaire musical; and the rabid Saint Bernard seems only a benign cartoon of the Hound of the Baskervilles. King professes to be satisfied with many of the movie adaptations, except for The Shining ("Stanley Kubrick's stated purpose was to make a horror picture, and I don't think he understood the genre") and the summer's Maximum Overdrive ("a stiff"), which King directed. But privately he derives consolation from a James M. Cain anecdote. An interviewer commiserated with the author of Double Indemnity...
...hardly new to movies, nor are they an exclusively American invention. The ground-breaking special-effects movie A Trip to the Moon was made in 1902 by a French filmmaker named Georges Melies. Techniques were improved over the years in such landmark films as King Kong (1933) and Stanley Kubrick's 2001: A Space Odyssey (1968). But most Hollywood studios had closed down their special-effects units by the mid-1970s, when Director Lucas set out to make a space adventure called Star Wars. To create the futuristic world he envisioned, Lucas set up his own shop...