'Full Metal Jacket' (1987)
Writer: Stanley Kubrick, Michael Herr and Gustav Hasford (based on the novel 'Short Timers' by)
Release Date: 11th September 1987
Hot Rating: 💥💥💥💥
Stanley Kubrick's twelfth feature film, a war film spanning from the training camp to the Vietnam battlefield, is a series of snapshots of conflict. These images, varying from the psychological warfare between general Sergeant Hartman (R. Lee Ermey) and Private Pile (Vincent D'Onofrio) to the physical brutality of the war itself, are as equally epic as they are vivid. Of the latter experiences, Kubrick's use of fade-outs jars the conventional passage of time, a feature which the film so powerfully overwhelms at the end of its first, prolonged act. While these temporal shifts are reflective of the film's portrayal of battle, spanning its feelings of futility and violence, they can sometimes distract viewers; such distractions would not be so prominent hadn't our central characters be so empathetic. As the conclusion proves, however, they are, and their guilt-ridden fate is what resonates as the film's poignant, humanising aspect.
'Eyes Wide Shut' (1999)
Writer: Stanley Kubrick, Frederic Raphael and Arthur Schnitzler (inspired by the novel by)
Release Date: 10th September 1999
Hot Rating: 💥💥💥💥
In his last film before his death in March 1999, around the time in which 'Eyes Wide Shut' undergoing editing, Stanley Kubrick showcased his knack for portraying human emotion. The director does a masterful job of shifting our anxieties according to each scene that we share with our central character, Dr William Hartford (Tom Cruise). A particularly unlikeable character, Hartford's movement throughout the mysterious New York setting is embodied by an air of morality in Kubrick's controlled movement of the camera. Unlike the muscular, jarring movements of Kubrick's war films, 'Eyes Wide Shut' has swift camera movements, guiding audiences through the oddities of New York, in particular, the sex party that William finds himself amongst in one scene. Alongside the film's screenplay, these movements test our attention, yet this pacing resonates as Kubrick's guidance through a world that feels instinctively new and one which keeps audiences' guessing right until the conclusion.
Writer: Stanley Kubrick, Michael Herr and Gustav Hasford (based on the novel 'Short Timers' by)
Release Date: 11th September 1987
Hot Rating: 💥💥💥💥
Stanley Kubrick's twelfth feature film, a war film spanning from the training camp to the Vietnam battlefield, is a series of snapshots of conflict. These images, varying from the psychological warfare between general Sergeant Hartman (R. Lee Ermey) and Private Pile (Vincent D'Onofrio) to the physical brutality of the war itself, are as equally epic as they are vivid. Of the latter experiences, Kubrick's use of fade-outs jars the conventional passage of time, a feature which the film so powerfully overwhelms at the end of its first, prolonged act. While these temporal shifts are reflective of the film's portrayal of battle, spanning its feelings of futility and violence, they can sometimes distract viewers; such distractions would not be so prominent hadn't our central characters be so empathetic. As the conclusion proves, however, they are, and their guilt-ridden fate is what resonates as the film's poignant, humanising aspect.
'Eyes Wide Shut' (1999)
Writer: Stanley Kubrick, Frederic Raphael and Arthur Schnitzler (inspired by the novel by)
Release Date: 10th September 1999
Hot Rating: 💥💥💥💥
In his last film before his death in March 1999, around the time in which 'Eyes Wide Shut' undergoing editing, Stanley Kubrick showcased his knack for portraying human emotion. The director does a masterful job of shifting our anxieties according to each scene that we share with our central character, Dr William Hartford (Tom Cruise). A particularly unlikeable character, Hartford's movement throughout the mysterious New York setting is embodied by an air of morality in Kubrick's controlled movement of the camera. Unlike the muscular, jarring movements of Kubrick's war films, 'Eyes Wide Shut' has swift camera movements, guiding audiences through the oddities of New York, in particular, the sex party that William finds himself amongst in one scene. Alongside the film's screenplay, these movements test our attention, yet this pacing resonates as Kubrick's guidance through a world that feels instinctively new and one which keeps audiences' guessing right until the conclusion.
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