Word: kubrick
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...Shining (1980) d. Stanley Kubrick...
...does pitiful Petrie get much help from his technical staff. John Alcott is a talented cinematographer, but, as Stanley Kubrick's favorite collaborator. Alcott has shown that he specializes in creating eerily sunny dream worlds where harsh lights and bright colors take on a chilling unreality. Alcott's style couldn't be more wrong for the South Bronx. When he does try to capture the ugliness of the locale, his photography becomes more grainy than gritty. And then, there's Rita Roland, from the Lizzie Borden School of Film Editing. Many times, she cuts away from a scene with...
LOLITA HAS BECOME a sort of under-aged siren for the creators of stage and screen, luring writers and directors to crash on the undramatic shoals of Nabokov's first-person prose. First Stanley Kubrick in his 1962 movie, then some forgotten adapter in an early '70s musical, and now Edward Albee in this vulgarized comic drama have attempted to drag Nabokov's characters from the sheltering artistry of his novel into the coldly objective glare of the theater. It's beginning to become unpleasantly clear that Lolita's appeal to directors and audiences alike lies not in its author...
...sadistic, but the performance lacks wit and imagination. After a while, McDowell becomes as tiresome as the two-and-a-half-hour film itself. This is especially disappointing because, nine years ago, McDowell proved himself an excellent actor by tackling the almost impossibly difficult role of Alex in Stanley Kubrick's A Clock-work Orange. In that film he portrayed a character as villainous as Caligula but, mainly through the control of his extraordinary face, he added something exhiliratingly scary to his performance. Alex's eyes were those of a mischievous schoolboy gone insane; he had the face...
...from the killer's point of view and we seem to be enjoying it, and to be dissociating ourselves from what it means. Responsible film artists have been warning us for years: Hitchcock told us, over and over, that we were voyeurs and sadists; Kubrick in Clockwork Orange, Malick in Badlands, Coppola in Apocalypse Now made epics of our dissociation; soldiers in Vietnam said it didn't feel like being there, it felt like being in a war movie; and Roger Rosenblatt writes in The New Republic that Son of Sam seems like just another psycho-on-the-loose movie...