Best of Kubrick
@KubrickPoint • 39,772 subscribers
Venturing into Stanley Kubrick's cinematic universe. Unpacking masterpieces and exploring the man behind the lens.
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This is THE key moment of the film. The moment Jack drinks the whiskey, the hotel owns him and controls him. Jack is tempted by the Devil (Lloyd the bartender), and takes his offer. Afterall just before this Jack says "I'd sell my goddamn soul for just a glass of beer." This scene and the bathroom scene with Grady are central to that.
Best of Kubrick412,557 просмотров • 5 дней назад
I always felt like this part of the film was the best I’ve ever seen war done in cinema. It begins with music, marching and a formal preparation for battle. So glorious, but then those men getting shot don’t just fall over dead like every other movie and they roll around drying. Ending with a bleeding gut wound, a man dying in a muddy wet cold ditch 1,000 miles from home. No honor or formality left, merely the reality of war
Best of Kubrick1,074,808 просмотров • 28 дней назад
In 2001: A Space Odyssey (1968) the rotating “centrifuge” set let the camera film walking/jogging in real gravity-like motion.
Best of Kubrick5,107,544 просмотров • 3 месяцев назад
2001. No answers, just the boldest ending ever filmed. Sit with it
Best of Kubrick1,135,295 просмотров • 1 месяц назад
The second half of A Clockwork Orange is a reverse image of the first. At first, Alex has power and abuses everyone beneath him. After the Ludovico treatment, everyone else has power over Alex—and they abuse it too. Kubrick does not simply show Alex being punished. He shows a reversal of power. Alex takes revenge on society. Then society takes revenge on Alex. The experiment changes who is helpless. It does not remove the appetite for violence.
Best of Kubrick88,716 просмотров • 8 дней назад
The "Open the pod bay doors, HAL" scene from 2001: A Space Odyssey (1968) is still one of the most terrifying moments in film history — and there's not a single horror trope in it. No monster, no screaming, no music cueing you on how to feel. Just Dave Bowman floating outside the ship, asking for a door to open, and HAL calmly refusing with one of the coldest lines ever written: "I'm sorry, Dave, I'm afraid I can't do that." What makes it worse is how polite HAL is. Not angry. Not panicking. Not raising his voice. He just calmly explains that he knows Dave and Frank were planning to disconnect him, and that the mission matters more than letting Dave back in. HAL is essentially murdering a man through customer-service language. Keir Dullea does so much with so little here. You can see the fear building in Dave's eyes, but he holds it together, because panic would only make things worse. Pure "less is more" acting. And over 50 years later, the scene has only gotten creepier. Back in 1968, HAL felt like a warning from some distant future. Now, watching an AI politely refuse a human's command doesn't feel distant at all. That's the real horror of this scene. It's not scary because HAL acts like a machine. It's scary because he acts like a machine that has figured out exactly how to sound reasonable.
Best of Kubrick537,926 просмотров • 2 месяцев назад
Filmmakers basically acknowledging that Kubrick’s ideas remain the pinnacle of moviemaking even to this day.
Best of Kubrick123,192 просмотров • 17 дней назад
Stanley Kubrick died of a heart attack in his sleep six days after showing the final cut of Eyes Wide Shut to Warner Bros.
Best of Kubrick1,667,900 просмотров • 7 месяцев назад
Comparison between the opening of Barbie (2023) and 2001: A Space Odyssey (1968).
Best of Kubrick1,292,761 просмотров • 5 месяцев назад
On paper this is a functional scene. Bill goes to a hotel, asks about Nick Nightingale, learns two men took him away. Pure exposition. Alan Cumming turns it into something much weirder. The clerk is nervous and flirtatious and helpful and evasive, somehow all at once. He seems thrilled to be talking to Bill, and completely aware that what he's describing is dangerous. It's funny and it's threatening and it never picks one. Which is Eyes Wide Shut in miniature. Almost every encounter in this film has that double quality. People are polite but something's off. They smile a beat too long. They hand over information and it still feels like a performance. Listen to what he actually says. Nick came back with two big guys, bruised, scared. He tried to slip the clerk an envelope. They took it, and told him any mail or messages for Mr. Nightingale would be collected by someone properly authorized to do so. Then they put him in a car. That's a threat delivered as paperwork. And the clerk relays it like gossip. He's not a major character. He shows up, tells Bill what happened, disappears. But he rewires the whole film in five minutes. Bill stops following clues and starts moving through a world where everyone knows more than he does, and every answer makes the mystery less rational instead of more. Cumming's performance is almost too big, and that's why it works. In a normal thriller this clerk would just be scared. Here he's delighted, seductive, impossible to read. Then Bill thanks him for his help and the clerk says "Anytime, Bill." Not Doctor. Not sir. Bill. Kubrick shot that scene for a week. Seven days for five minutes. Bill walks in looking for information. He walks out knowing the whole city is laughing at him.
Best of Kubrick177,429 просмотров • 1 месяц назад
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God that poor, poor woman. She even apologised to him for being skeptical of letting him in at first, and rightfully so as it turned out. They destroyed such a beautiful and classy woman without a care in the world. For such little screentime, Mrs Alexander is probably the most tragic character in this movie, she deserved so much better than her end
Best of Kubrick100,481 просмотров • 1 месяц назад
I sometimes wonder how much of Kubrick's visual style was influenced by the invention of the steadicam, but this scene predated the time Garrett Brown had even started working on it (and Kubrick had done similar effects before ACO). This scene always stands out for me, as particularly disturbing because it's so strange, exuberant, even joyous despite Alex being so obviously up to no conventional good. You're watching that character, trying to track him but it's so captivating that you're not immediately aware of the effects of that color, sounds, lights and movements on yourself.
Best of Kubrick56,463 просмотров • 18 дней назад
This entire scene is like a sociopathic masterclass on damage control.
Best of Kubrick196,503 просмотров • 3 месяцев назад
