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Stanley Kubrick was a connoisseur of truly terrible men. In the midst of the Watergate decade, the era of My Lai, Salvador Allende and the Pentagon papers, when heroism was a bargain-basement deal, Kubrick’s heroes upped the ante in the antiheroic. Starting with Sterling Hayden in The Killing and James Mason’s Humbert Humbert in Lolita, Kubrick had long focused on the morally corrupt. A Clockwork Orange’s Alex, The Shining’s ghost-ridden Jack Torrance, even the rationally murderous computer Hal in 2001: A Space Odyssey, all trace a broader cultural shift towards the dishonourable and troubling protagonist. Perhaps the most ambiguous of this crew is charming Barry Lyndon. Played by Love Story’s all-American dreamboat, Ryan O’Neal, Barry is ostensibly the most attractive of all of Kubrick’s protagonists. »
- Michael Newton
It’s been three decades since “Stand By Me” became the little drama that could, catapulting River Phoenix to stardom, establishing Rob Reiner as a director on the rise, and racking up big ticket sales on a paltry budget.
The story of four friends from small town in Oregon, hiking into the countryside in search of the body of a boy who has been hit and killed by a train, is an unlikely coming-of-age tale. Yet in Reiner’s sensitive hands, it becomes a meditation on mortality — one that transcends its 1950s setting to have a universal appeal.
“Stand By Me” is unique in other ways. For one thing, it rivals “The 400 Blows” in its ability to evoke complex characterizations from young actors. Not only Phoenix as spiritual leader Chris Chambers, but co-stars Wil Wheaton as sensitive Gordie Lachance, Jerry O’Connell as wisecracking Vern Tessio, and Corey Feldman as hot-tempered Teddy Duchamp, »
- Brent Lang
July 26 would have been the 88th birthday of Stanley Kubrick, one of Hollywood’s all-time greats. His output was slim — only 13 films in a 40-year career — but his batting average was very high.
Over the decades, Variety chronicled his various films, including “2001: A Space Odyssey.” It began filming in London in December 1965, aiming for a Christmas 1966 release. In September 1966, MGM president Robert H. O’Brien told Variety that the film had been delayed and its original $6 million budget wasn’t enough. “Stanley is an honest fellow and he simply admitted to me that he hadn’t anticipated the tremendous technical problems he’d have with all the fantastic special effects he wanted. For $6 million, we could have had a Buck Rogers sort of thing, but for the extra million we’ve got what we originally planned. Should we have told him to stop at $6 million? Why have Buck Rogers »
- Tim Gray
11 Iconic Stanley Kubrick Scenes in Honor of Kubrick Day: ‘Spartacus’ to ‘The Shining’ TheWrap rounds up just a few of the incredible moments from the celebrated director’s career on what would have been his 88th birthday “The Shining” (1980)–All Work and No Play “The Shining” (1980)–“Here’s Johnny!” “Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb” (1964)–Maj. Kong Rides the Bomb “Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb” (1964)–No Fighting in the War Room “Spartacus” (1960)–“I’m Spartacus!” “Paths of Glory” (1957)–Firing Squad “2001: A Space »
- Joe Otterson
Film critique and academia oftentimes produce fascinating video essays. From an investigation of slow motion to how makeup has been used to age actors to even a parody of video essays themselves, these clips have offered an insightful look into the art of filmmaking — as well as some hysterical laughs for the lack thereof. But when one looks at greats like Stanley Kubrick and Andrei Tarkovsky, it’s bound to be a beautiful tribute, and Vimeo user Vugar Efendi has done just that in a comparison of the two giants’ styles.
The two directors, as Efendi claims, “have defined and pioneered the cinematic language.” Lingering through Kubrick classics such as “2001: A Space Odyssey,” “The Shining” and “Full Metal Jackets” alongside Tarkovsky greats such as “Solaris,” “Andrei Rublev” and “The Mirror,” the video shows clear »
- Kyle Kizu
YouTube has offered the world many wonderful things — cat videos, easily digestible TV clips, and finally, old TV commercials. These commercials function as interesting time capsules of a different time in American life, and serve as a neat reminder of the cultural moment’s short-lived relevancy, i.e. what’s normal now will seem outdated and strange to future generations. Naturally, these old commercials are open to parody, but that doesn’t make it an easy. As any true parodic artist will tell you, it takes a true fan of the genre to do it well. Look no further than the YouTube channel Chainsaw Estates, who has created a parody of a 1980s commercial for a board game version of Stanley Kubrick’s classic horror film, “The Shining.”
The commercials pays tribute to the 1980 film’s most famous moments, »
- Kyle Kizu
Not to be confused “Daydreaming With Stanley Kubrick,” a current exhibit in London featuring art inspired by the director, “The Stanley Kubrick Exhibition” has been touring the world with stops at Los Angeles, Toronto, Poland, and more. Featuring original props, equipment, costumes, and more items essential to the director’s career, it’s now at the Contemporary Jewish Museum in San Francisco, and Mythbusters‘ Adam Savage has posted his own video tour.
In the fascinating overview, he looks at the candles in Barry Lyndon, Kubrick’s own lenses, concept art from A.I.: Artificial Intelligence (which Savage worked on), the monkey costumes from 2001: A Space Odyssey, a model for Dr. Strangelove set, his preparation for his unmade epic Napoleon, which Cary Fukunaga is attached to direct, and much more.
- Jordan Raup
What’s this? A board game based on Stanley Kubrick’s version of Stephen King’s The Shining? In a perfect world! What we have here is a neat little faux commercial that hits all of our happy buttons. Hey, kids! It’s The… Continue Reading →
The post Play The Shining Board Game… Forever and Ever and Ever… appeared first on Dread Central. »
- Steve Barton
Walkaway Productions are creating a new short film called "Sanctus" which is an experiment in "The Uncanny". The Uncanny is the name of an essay written by Sigmund Freud in 1919 and talks about elements that we find familiar, yet unfamiliar-- things that nag at our brain and stick with us when we experience them. Stanley Kubrick studied this phenomenon and integrated a ton of it's elements into his version of "The Shining", which is widely recognized as one of the most heavily analyzed and haunting films of all time. Sanctus includes elements from the Uncanny, weaving a strongly-symbolic story without a concrete narrative. This results in a film that leaves the interpretation up to the viewer. It's an experiment in self-psycoanalysis. Each viewers experience...
[Read the whole post on screenanarchy.com...] »
The director’s 18th-century epic is legendary for the hardships imposed upon its cast, with 150 takes for a single shot not uncommon. But, four decades on, the film’s stars remain united in praise of this beautiful, slow-burning masterpiece
In between the stark futurism of A Clockwork Orange and the floodlit horror of The Shining, Stanley Kubrick made an 18th-century picaresque costume drama that was far less widely loved than either of those films but infinitely more devastating. Barry Lyndon follows the adventures of an opportunistic Irish nitwit, Redmond Barry (Ryan O’Neal), as he clambers inelegantly up the social ladder in search of a title and a fortune. Those who disliked the picture on its release in 1975 cited the pace, which even a snail might consider a tad slow. Defenders, such as Alexander Walker of the Evening Standard (“cinema to marvel at”) and Nigel Andrews of the Financial Times »
- Ryan Gilbey
A complicated curiosity about a reclusive actress.
Two of the most intriguing characters in Robert Altman’s Nashville are Tricycle Man and L.A. Joan. When considered together, it’s a wonder Shelley Duvall didn’t wind up becoming the female equivalent of Jeff Goldblum. She should have had a long career playing eccentric but charismatic women, just as he has done (in male roles). But that kind of thing works out better for actors than actresses. So instead, he wound up starring in movies where he fought fictional aliens, and she wound up a recluse gossiped to be living in fear of aliens that are in her body.
It’s been a while since I thought a lot about Duvall, outside of regularly enjoying her in many of Altman’s films, including 3 Women and Popeye, plus Annie Hall, Roxanne, and of course The Shining. I hadn’t seen her in anything new in forever, but »
- Christopher Campbell
Conspiracy theorists have long held that Stanley Kubrick helped fake the 1969 moon landing under the direction of the U.S. government, and now his daughter Vivian has come out to blast the rumors as "a grotesque lie." "There are many, very real conspiracies that have happened throughout our history...But, claims that the moon landings were faked and filmed by my father? I just can't understand it!!?" railed Kubrick in a tweet timed to the news that Nasa's Juno spacecraft had reached Jupiter after a nearly five-year journey. "How can anyone believe that one of the greatest defenders of mankind would commit such an act of betrayal?" Suggestions that Kubrick was approached by the U.S. government to "direct" the moon landing during post-production of 1968's 2001: A Space Odyssey have been around since before the director's death in 1999, but the claims have been roundly debunked; most recently, a video »
- Chris Eggertsen
For decades, fringe groups have held that the U.S government hired Kubrick to shoot the “fake moon landing.” Now, as Nasa’s Juno probe is expected to reach Jupiter this week, Kubrick’s daughter, Vivian, took to Twitter stating “this feels like the right time to respond.”
“There are many, very real conspiracies that have happened throughout our history,” Vivian Kubrick wrote. “But, claims that the moon landings were faked and filmed by my father? I just can’t understand it!!?”
Re: Faked Moon Landings
Many people have asked me about this. And this feels like the right time to respond … pic.twitter.com/UVlNFofFW8
— Vivian Kubrick (@ViKu1111) July 5, 2016
She added, “… the so called ‘truth’ these malicious cranks persist in forwarding – that my father conspired with the Us »
- Lamarco McClendon
Choosing the best movie Stanley Kubrick ever made is a contentious task fit for the War Room, but deeming one the funniest is considerably easier: “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” elicits more laughter than “The Shining,” “2001” and “Eyes Wide Shut” combined. A making-of documentary available on YouTube goes behind the scenes of Kubrick’s political satire.
By the late 1950s, a narrator informs us in the opening minutes, Kubrick was deeply troubled by the prospect of nuclear war; James B. Harris, the filmmaker’s former production partner, says it was the only thing on his mind after finishing “Lolita.” This led him to read more than 50 books on the subject, one of which came recommended from a friend at the International Institute for Strategic »
- Michael Nordine
“Daydreaming with Stanley Kubrick” is a new exhibition that features art inspired by the filmmaker and his work. Somerset House in London will host the event from July 6 through August 24 and will include pieces from artists like Daft Punk member Thomas Bangalter, Carl Craig, Doug Aitken, Gavin Turk, Haroon Mirza, Anish Kapoor and many more.
Each one was invited to “respond to a film, scene, character or theme from the Kubrick archives, shining new perspectives onto the cinematic master’s lifework.”
Kubrick’s wife of 41 years, Christiane Kubrick will also support the exhibition and contribute a portrait entitled, “Remembering Stanley.” Jan Harlan, Kubrick’s executive producer for 28 years is also a supporter of the project, with Warner Bros. endorsing it.
- Liz Calvario
Barry Lyndon. It’s one of Stanley Kubrick’s greatest achievements, and yet it is has rarely been uttered in the same league as A Clockwork Orange, 2001: A Space Odyssey, or Dr. Strangelove. However, as the years have gone by they’ve been very kind to Kubrick’s 18th-century tale. It was ranked 59th on Sight & Sound’s prestigious critics poll of the greatest movies ever made and has been hailed by Martin Scorsese, among many others, as his favorite Kubrick film. John Alcott’s cinematography also ranks as one of the landmarks of the field of photography, with its ingenious natural lighting that, in one very famous scene, lit up rooms with dozens of chandeliers. Its impact has been felt all the way to last year’s The Revenant, which also used natural lighting and was clearly inspired by Alcott’s famous lens.
All this to say that »
- The Film Stage
Just as vibrant and urgent as it was when it debuted in 1975, Stanley Kubrick’s “Barry Lyndon” is perhaps the perfect historical epic to be re-introduced to a brand new audience. Masterfully crafted and featuring a slew of all-time performances (you’ve scarcely seen the full depth of Ryan O’Neal’s talents if you haven’t seen the feature), the Oscar- and BAFTA-winning film really does hold up (and it was overlooked during its own time), and the BFI is banking on that appeal to help send a new re-release over the top.
In advance of the new UK re-release of the film, the BFI and Warner Bros. commissioned Ignition Creative London to craft a new trailer for the film, one that builds in a contemporary feel without sacrificing the film’s authenticity (and includes »
- Kate Erbland
With the news that Cary Fukunaga is taking over Stanley Kubrick‘s long-developed project Napoleon, we remarked about the sheer number of projects in various stages of development that the director left behind when he passed away in 1999. Over a decade-and-a-half later we’re still learning about more potential features the visionary director was working, and today brings news of two more.
Speaking to Kubrick’s longtime personal assistant and close friend Emilio D’Alessandro, The Guardian reports The Shining director was developing his first family film: an adaptation of the classic tale Pinocchio. In what would have been “completely separate” from A.I., which was often referred to as a robot take on the story, D’Alessandro says, “Stanley was interested in making Pinocchio. He sent me to buy Italian books about [him]. He wanted to make it in his own way because so many Pinocchios have been made. He »
- Jordan Raup
Perhaps harder to believe than the fact that Stanley Kubrick's The Shining -- which turns 36 today -- wasn't universally beloved by critics in 1980 is the idea that it was nominated for two Razzies (Worst Director and Worst Actress, Shelley Duvall) following its release. First off: Shelley Duvall's Wendy Torrance may very well have been a misogynistic portrait (Stephen King once colorfully described the character as a "screaming dishrag"), but Duvall was nothing short of great in that role, a perfect reflection of the audience's mounting terror. It seems to me that there is also some misogyny at work in the widespread idea that Nicholson was brilliant and she was terrible, but that's another post. So just what did the critics say in 1980? While a number of reviewers enjoyed the film (People magazine's critic described it as a "near-miss auto accident: You don't know how scared you really were »
- Chris Eggertsen
Unkrich has been collecting memorabilia for years and decided to share it with other devotees, via TheOverlookHotel.com. Since the website’s debut several years ago, other admirers have shared things with him. There are now about 700 pieces online, including photos and notes on the film’s production, as well as work inspired by the movie: paintings, sculptures, songs, perfume, clothing, vinyl figures, a skateboard, even a gingerbread house re-creating the Overlook Hotel. The site also offers a few short films, such as “Wes Anderson’s The Shining, »
- Tim Gray
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