but Barry Lyndon is!Reza wrote:LOLDamien wrote:Ummm, no.Greg wrote: You really don't consider Paths Of Glory, Dr. Strangelove, or 2001 to be great films?
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Ummm, no.Greg wrote:You really don't consider Paths Of Glory, Dr. Strangelove, or 2001 to be great films?Damien wrote:And as things worked out, Kubrick's last movie was his one great film.
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Watched Phoebe in Wonderland last night.
It was a bit uneven, trying to be too many things at once, but it has firmed up my belief that Elle Fanning is the true talent of the Fanning Family. She is incredibly natural and enchanting. She certainly made up for many of the movie's failures. Patricia Clarkson was also nicely used in the film, though Bill Pullman was awful and Felicity Huffman was severely disappointing.
It was a bit uneven, trying to be too many things at once, but it has firmed up my belief that Elle Fanning is the true talent of the Fanning Family. She is incredibly natural and enchanting. She certainly made up for many of the movie's failures. Patricia Clarkson was also nicely used in the film, though Bill Pullman was awful and Felicity Huffman was severely disappointing.
Wesley Lovell
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
I think it would have been good, but it wouldn't be the polished film we have today. It's not nearly as mainstream as Spielberg could have made it though, and that's a good thing. There would probably be a lot more silence or classical music in Kubrick's version too.
Just generalizing.
Just generalizing.
"It's the least most of us can do, but less of us will do more."
/A.I. Artificial Intelligence/ (Spielberg) - 11/10
This goes on the All-Time list for me. Just as Blade Runner meshed science-fiction with noir, Spielberg creates the science-fiction fairy tale. This film is perverse in its challenging the nature of man/child vs. God, man/child vs. child, man/child vs. father (and not mother), man/Oedipal child vs. mother, man/child vs. spouse, man/child vs. creations, man/child vs. self; every scene asks something else devoid of conventional platitudes. Through David, Spielberg does something ostensibly spiritual in positing that we are all children in the face of God and self, and therefore trembling. This is a sad vision of the future touched by magical imagery. If not asked outright, then conveyed through the most imaginative and mature visual filmmaking of the director's career, with frames that haunt the mind. This is gorgeous myth-making visual cinema that would survive as silent cinema.
Which brings us to the ending. As Rosenbaum states: "It sounds like typical Spielberg goo–for better and for worse–and when you’re watching the film it feels that way. But the minute you start thinking about it, it’s at least as grim as any other future in Kubrick’s work. Humankind’s final gasp belongs to a fucked-up boy robot with an Oedipus complex who’s in bed with his adopted mother and who finally becomes a real boy at the very moment that he seemingly autodestructs–assuming he vanishes along with her, though if he survives her, it could only be to look back in perpetual longing at their one day together. Real boy or dead robot? Whatever he is, his apotheosis with mommy seems to exhaust his reason for existing. As Richard Pryor once described the death of his father while having sex, “He came and went at the same time.” Like the death of 2001’s HAL, which might be regarded as David’s grandfather, it’s the film’s most sentimental moment, yet it’s questionable whether it involves any real people at all." To end in the risen seas with the Blue Fairy would be ironic and nihilist. The epilogue works. It's just a little blunt.
Edited By Sabin on 1252950265
This goes on the All-Time list for me. Just as Blade Runner meshed science-fiction with noir, Spielberg creates the science-fiction fairy tale. This film is perverse in its challenging the nature of man/child vs. God, man/child vs. child, man/child vs. father (and not mother), man/Oedipal child vs. mother, man/child vs. spouse, man/child vs. creations, man/child vs. self; every scene asks something else devoid of conventional platitudes. Through David, Spielberg does something ostensibly spiritual in positing that we are all children in the face of God and self, and therefore trembling. This is a sad vision of the future touched by magical imagery. If not asked outright, then conveyed through the most imaginative and mature visual filmmaking of the director's career, with frames that haunt the mind. This is gorgeous myth-making visual cinema that would survive as silent cinema.
Which brings us to the ending. As Rosenbaum states: "It sounds like typical Spielberg goo–for better and for worse–and when you’re watching the film it feels that way. But the minute you start thinking about it, it’s at least as grim as any other future in Kubrick’s work. Humankind’s final gasp belongs to a fucked-up boy robot with an Oedipus complex who’s in bed with his adopted mother and who finally becomes a real boy at the very moment that he seemingly autodestructs–assuming he vanishes along with her, though if he survives her, it could only be to look back in perpetual longing at their one day together. Real boy or dead robot? Whatever he is, his apotheosis with mommy seems to exhaust his reason for existing. As Richard Pryor once described the death of his father while having sex, “He came and went at the same time.” Like the death of 2001’s HAL, which might be regarded as David’s grandfather, it’s the film’s most sentimental moment, yet it’s questionable whether it involves any real people at all." To end in the risen seas with the Blue Fairy would be ironic and nihilist. The epilogue works. It's just a little blunt.
Edited By Sabin on 1252950265
"How's the despair?"