★★★ / 35mm/ Kubrick’s dystopian tale seems oddly tame, more noticeable for its ingenious style than violent nihilism, the milk bar, hoodlums stuffed in car, cat lady and her ceramic penis, the stylish country home. The larger part of the film, Alex’s rehabilitation in jail and as tortured guinea pig, stresses the danger of totalitarianism, but fails to stand up to its titillating opener, lacking its visual audacity.
Need to revisit this movie again not high so I can really understand what to make of some of the choices made by the director and cinematographer. Again I'm a huge of original or a new cinematic language being used in regards to how the camera work flows from scene to scene and is has that, alot of great shots to help you feel the emotion of the scene along with great production and Artistic direction choices. 4.8
I haven’t seen this film since I was 16 but I can certainly say that it’s had an impact the second time round. This is a perfect critique of institutional oppression and violence imposed upon the subject. Kubrick changes his style with every film but those classic tracking shots remain his signature. I love the design of this film and the editing is phenomenal.
A violent masterpiece where Malcolm McDowell rules as Alex. Stanley Kubrick's total grip over the production and use of timeless classic music is phenomenal. The satiric element of the movie is becoming more and more fact-based and more disturbing for each new day we live as we are transformed into brainless violent monkeys through pointless programs on TV.
40 years later still retains the ability to sear it's images on your brain...a sour-candy coated exploration of societal and personal spirals/circles of moral entropy and dehumanization, the friction between conditioning and freewill cannot be studied satisfyingly in two and a half hours, but it's a great gateway drug to questions that should be asked of oneself and others...(not Burgess' original ending, btw)
The contempt Kubrick exhibits for the weak and the victimised is at its nadir here. It's like he spent all his humanism early on with 'Paths of Glory'. It's a convincingly realised dystopia with fascist monumentality balanced against kitchen-sink grubbiness, but I hate that it's a cultural touchstone. I'd far, far rather listen to the soundtrack than ever watch it again.