Spartacus

1960.
Unlisted / #81
Winner of 4 Academy Awards.

Spartacus (Kirk Douglas) leads a slave revolt against Rome.

Eddie: I didn't realize until I started watching this movie that SPARTACUS is a Stanley Kubrick film. While it's stylistically more of a departure for Kubrick, it's got a lot of the elements that I despise about his movies. À la 2001, why does Kubrick insist on lingering so long on one shot? Rome could've been sacked and rebuilt in the time it takes those legions to assemble before they attack the slave army. And vis-à-vis (that's right. I said it) nearly every Kubrick film, what the hell was this movie about? Was it about Spartacus? Was it about Rome? Was it a love story? I have no idea.

Douglas is all right, but he seems to rely pretty heavily on that grin to get him through scenes. Tony Curtis is terribly miscast. Even the dependable Laurence Olivier seems uneven throughout the film. My only concession is that Kubrick deserves major props for directing this epic film (cast of 10,000) at such a young age (33). In addition to directing, Kubrick served as the director of photography after he fired Russell Metty (who still managed to win the Oscar for Best Color Cinematography).

Sarah: The things Eddie hates about this movie are the things I like about it. I like that Kubrick takes his time to develop multi-layered films. His stories don't tell you their thesis, instead he leaves the audience to draw their own conclusions. He is subtle, which I find refreshing. Apparently I'm alone here because everyone else loves BLACK SWAN (aka "Mirror mirror on the wall, whose the craziest one of all?").

I really admire Kubrick, and the choreography of this mega-cast shows what a powerful director he is. But even my love for Kubrick doesn't make me think this is an AFI movie. While I found the subject matter fascinating, this film seems weak compared to the others we have viewed. It's a relic sitting on the list as a tribute to old epic films. It doesn't hold up. It's too costumed and melodramatic. Even if you could get past these issues to enjoy the emotional ride of the film, sooner or later Tony Curtis will enter. As soon as he says something in his thick, New York accent, you will again be taken out of the movie.

I'm all for more Kubrick on the list, but what about FULL METAL JACKET or THE SHINING? This is simply too much of a commercial drama to showcase Kubrick's talents. And we all know what happens when we try and make Kubrick commercial. We get A.I.

Why You Should See It: The love story between Spartacus and Varinia (Jean Simmons) is kind of adorable.

A Clockwork Orange

1971.

#46 / Unlisted

Nominated for 4 Academy Awards.

Alex (Malcolm McDowell) and his "droogs" wreak violent havoc all over England, until Alex is caught and reformed. But then Alex runs into some of his victims, who torment him in retaliation for the pain he caused them.

Sarah: I am not a fan of this film, which means that Kubrick did a great job. I have never been more scared or disturbed by a film in my life. The violence truly terrifies me, especially the graphic rape scenes, which are strangely glorified. It makes my stomach churn and affects me on a level no movie has.

When I watch A CLOCKWORK ORANGE, I feel fear. Not fear like when you watch a suspenseful thriller or even horror - this movie makes me feel like a victim. I've had to watch it a few times during the short period I was a film major, and I will never watch it again. Maybe I'm sensitive, but I think the violence in this film is something that exists in the world, and Kubrick is warning us to keep an eye on it.

Eddie: Kubrick hits his stride with CLOCKWORK. The film, along with Sarah's review of it, shows the power of film. I love the movie for all of the reasons that Sarah hates it. Its graphic violence and hypnotic use of Beethoven's Ninth reveal how engrossing movies can be. I agree that the characters' actions are deplorable. I think that's the point of the movie. Alex was evil. He did evil things to good people, but once they had the chance, they did the same to him.

Why You Should See It: The movie's uses of "Singin' in the Rain" and Beethoven's Ninth Symphony. You'll never hear them the same way again.

2001: A Space Odyssey

1968.

#22 / #15

Winner of 1 Academy Award.

2001: A SPACE ODYSSEY starts out with prehistoric man discovering a monolith, then we fast forward to the discovery of a similar monolith on some moon. And then there's the famous bit between Dave (Keir Dullea), an astronaut, and HAL-9000. And then Dave turns into a starchild.

Eddie: I really hate this movie, and I strongly dislike the pretentious people who claim to love it. What the hell is this movie about? It makes no sense. It's a three-hour mindfuck, and I will not go on some trans-galactic voyage unless there's some logic or payoff at the end. The classical music is disjointed from the film, and the editing makes you feel like you're watching interplanetary paint dry. Bleh.

Sarah: Let me remove my top-hat and place my wine on a coaster while I exclaim, "I love this movie." Though I owe my understanding to a religious studies teacher who offered watching this movie as extra-credit. Watching it and trying to figure out why the hell would a religious studies professor assign this, gave the film meaning.

It's a spiritual journey. Man gains knowledge and falls from innocence, man kills God and creates his own God, Man dies and is reborn. What is not to get? They didn't teach you that in film school Eddie? Now excuse me while I polish my monocle and take my exit to the pretentious people's gala. We're having roast goose and discussing Waiting For Godot.

Why You Should See It: The "open the pod bay doors" scene is chilling. The silence of space has never created as much tension as this scene.