• Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

76. Full Metal Jacket (#94)

Hosted by Andrew Quinn and Darren Mooney, The 250 is a trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT, with the occasional weekend off.

This time, Stanley Kubrick’s Full Metal Jacket.

Director Stanley Kubrick crafts a bold and disorienting look at the chaos of the Vietnam War, with a film of two halves. The first half of the feature film unfolds against the backdrop of United States Marine Corps training on Parris Island, before the second half focuses on the disorganisation of the Nam itself.

At time of recording, it was ranked the 94th best movie of all time on the Internet Movie Database.

Continue reading

70. Barry Lyndon – St. Patrick’s Day 2018, w/ When Irish Eyes Are Watching (#225)

Hosted by Andrew Quinn and Darren Mooney, The 250 is a fortnightly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT.

This week, a special crossover episode with When Irish Eyes Are Watching, an Irish film podcast wherein Alex, Clíona and Séan take at a look at films connected to the Emerald Isle.

The 250 and When Irish Eyes Are Watching are crossing over for a St. Patrick’s Day treat. Stanley Kubrick’s Barry Lyndon.

Barry Lyndon is the epic story of the eponymous character, a dashing Irish rogue who seems to bumble his way through the eighteenth century. Using nothing but his wits, Barry manages to manipulate his way to the fame and fortune that he so covets, only to discover a fortune won is not so easily kept.

At time of recording, it was ranked the 225th best movie of all time on the Internet Movie Database.

Continue reading

Form a Square For That Purpose: Kubrick’s “Barry Lyndon” and the Illusion of Civility

In some respects, Barry Lyndon is seen as an outlier in Stanley Kubrick’s filmography.

The film is a lush and extended period drama, adapted from a nineteenth century novel set in the eighteenth century. It arrives in the middle of an acclaimed run of films from director Stanley Kubrick: Doctor Strangelove; Or How I Learned to Stop Worrying and Love the Bomb, 2001: A Space Odyssey, A Clockwork Orange, The Shining and Full Metal Jacket. By all appearances, Barry Lyndon stands apart from these films. “Period piece” is obviously a film genre unto itself, but it is not as heightened as the bigger and bolder films around it.

Arresting imagery.

Barry Lyndon is arguably Kubrick’s only “period film” outside of Spartacus, which the director famously disowned and is arguably seen as a film more overtly influenced by its leading man than its director. Of course, some of Kubrick’s films move backwards and forwards in time; Full Metal Jacket takes place in the late sixties, while the prologue to 2001: A Space Odyssey is set at “the dawn of man.” Nevertheless, for many casual film fans approaching Barry Lyndon, the film’s period trapping stands out from the surrounding films, which are largely set near the present and into the future.

Indeed, it could be argued that this difficulty that casual observers have in positioning Barry Lyndon within the Kubrickian canon accounts for some of the controversy around the film’s place in the director’s larger filmography. Upon release, the film was largely met with confusion and disinterest, critics often struggling with what to make of the finished product. For his part, Kubrick dismissed the idea of critics forming a consensus on a film like Barry Lyndon after just one viewing.

Initial audiences weren’t enamored with the film.

Of course, this is arguably par for the course with Kubrick films, particularly those towards the end of his career. Many Kubrick films opened to a divided critical opinion before slowly solidifying their popular reputations over time; 2001: A Space Odyssey, A Clockwork Orange, The Shining. However, Barry Lyndon seems to be a special case. Debate was still raging over the critical merits of the film after Kubrick’s death, even in letter columns of newspapers like The New York Times. Even the release of remastered editions forty years later find proponents arguing the film is undervalued or underrated.

However, watching Barry Lyndon, the film never really feels like an outlier in terms of Kubrick’s filmography. Indeed, in some respects, it feels like a culmination of many of the director’s recurring themes and fascination. Barry Lyndon is perhaps the clearest articulation of some of the key themes within Stanley Kubrick’s larger body of work, in particular through its engagement with the Enlightenment as a window through which he might explore the human concept of “civilisation.”

Drawing to a close.

Repeatedly over the course of his filmography, Kubrick engages with the idea of civilisation and order, the structures that mankind imposes upon the world in order to provide a sense of reason or logic to a chaotic universe. Repeatedly in his movies, Kubrick suggests that “civilisation” is really just a veneer that masks the reality of the human condition, providing a framework for acts of violence and self-destruction that seem hardwired into the human brain. Kubrick suggests that “civilisation” is a fragile construct, and one that occasionally seems hostile to the nature of those who inhabit it.

Unfolding against the rigid social mores of the eighteenth century, Barry Lyndon allows Kubrick to construct the starkest and most literal example of that theme.

Soldiering on.

Continue reading

Non-Review Review: Filmworker

This film was seen as part of the Audi Dublin International Film Festival 2018.

What must it be like to surrender a life in service of somebody else pursuing their dreams? It is a challenging and provocative question; very few people are willing to risk everything to chase their own dreams, so what level of devotion must be required to do that in service of somebody else’s aspirations?

This is the central question of Filmworker, the documentary charting the life and times of Leon Vitali, who essentially surrendered his life to director Stanley Kubrick, to help the director fulfill his creative vision and realise his dreams on celluloid. The opening voiceover, lifted from Matthew Modine’s diaries working on Full Metal Jacket, likens Leon Vitali to a moth drawn to Stanley Kubrick’s flame. It’s an apt metaphor, one that plays through Filmworker.

For years, Leon Vitali was Stanley Kubrick’s right-hand man, the film offering varying labels; some call him an “assistant”, others a “factotum”, while Leon’s own official classification of his job for paperwork and applications was “filmworker.” Whatever title might have been applied to Leon, the man did everything did everything. The jack-of-all-trades coached actors, he oversaw casting, he restored negatives, he documented decisions, he engaged with distribution. He was essential to the operating of Kubrick’s creative machine, yet he remains mostly anonymous.

Filmworker engages with this relationship, with the sacrificing of an individual’s autonomy to enable another’s creative vision. The film is refreshing frank in some respects about the demands of such a life, of the temperamental impositions made by such artists of these devotees. The film captures the romance of working with genius, but also the toll that it exacts.

Continue reading

No, Christopher Nolan is not “the Next Stanley Kubrick”

Another Christopher Nolan film, another round of stock comparisons.

To his credit, Nolan sparks genuine critical debate and discussion online, even if there’s an uncomfortable whiff of sensationalism to the coverage. Is Christopher Nolan responsible for everything that is wrong with Hollywood right now? (Spoiler: No. Not at all. Not even slightly.) Is Christopher Nolan a pompous and privileged douchebag for wanting audiences to see his film in the format that he has intended? (Spoiler: While he could probably be a bit more mindful that one size doesn’t always fit all, dude has a right to have a preference about how his work is consumed.)

To be fair, these provocative and confrontational articles at least provide a nice reprieve from the listacles and fan service that define so much of the discourse about modern summer movies. How does [minor character] set up the future of [major franchise]? How many easter eggs did you identify from in [franchise blockbuster]? One of the advantages of Hollywood’s modern franchise-driven mindset is that it makes ranking [entire franchise] articles popular and recyclable. It is exhausting. At least a new Nolan film tends to mean new director-centric debates.

That said, there is one comparison that tends to get rehashed quite a bit. Almost every time that Christopher Nolan releases a feature film, film writers who really should know better stop to ask whether Christopher Nolan is the next Stanley Kubrick. Andrew Pulver addressed the comparison in The Guardian, providing a nice piece of symmetry to an article he wrote almost a decade ago. Christopher Priest, author of The Prestige, made the case only a few years ago.

It is a fairly obvious argument. Both Nolan and Kubrick are directors who worked at a remove from the press, tending to live and work outside the studio system while developing their ideas. They both seem to straddle the Atlantic, both having spent a lot of time living in England and working in America. Neither director ever seemed entirely comfortable talking to the press or doing the publicity circuit. Both produce films that are very stylishly produced, often tending to keep the audience at a slight remove from their characters that some may consider “cold.”

However obvious the comparison might be, it relies on a fundamental misunderstanding of both directors.

Continue reading

32. 2001: A Space Odyssey (#90)

Hosted by Andrew Quinn and Darren Mooney, The 250 is a fortnightly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every second Saturday at 6pm GMT, with the occasional bonus episode between them.

This time, Stanley Kubrick’s 2001: A Space Odyssey.

At the dawn of man, a strange observer appears to witness the instant at which mankind comes into existence. Millennia later, the object appears again, beckoning mankind out towards Jupiter, beyond the infinite.

At time of recording, it was ranked the 90th best movie of all time on the Internet Movie Database.

Continue reading

Non-Review Review: The Raven

The Raven is one of those concepts that might have been interesting to follow from the pitch phase. It seems almost impossible that anybody thought the movie, in the condition that it was released, was a good idea – so I’m curious at how various people were convinced to sign on and to help shepherd it to the screen. Of course, my inner cynic suggests that money was a prime motivating factor, but it’s very hard to imagine anybody being convinced that “Edgar Allan Poe lives through se7en in 1849 Baltimore” would prove the basis of a massive cash windfall.

There must have been something of interest here, something worthy of attention at some point in the process, rather than just the half-hearted attempt to knock-off one of those nineties serial killer knock-offs with a slight change of scenery.

A shadowy figure...

A shadowy figure…

Continue reading