- Once (2006)
- All the President's Men (1976)
- Being John Malkovich (1999)
- In the Year of the Pig (1968)
- In The Mood For Love (2000)
- Hole, The (1960)
- Tokyo Story (1953)
- Ocean’s Eleven Blu-Ray Review
- Jurassic Park (1993)
- Gilda (1946)
- Rounders (1998)
- Masque of the Red Death, The (1964)
- Django Unchained (2012)
- Fat City (1972)
- Amélie (2001)
- All That Jazz (1979)
- Night of the Hunter, The (1955)
- King of Comedy, The (1983)
- Manhattan (1979)
- Mishima: A Life in Four Chapters (1985)
- Sullivan's Travels (1941)
- Adventures of Priscilla, Queen of the Desert, The (1994)
- Hecklefest Four-Word Film Reviews! August '12 - Week 4
- Playtime (1967)
- Crouching Tiger, Hidden Dragon (2000)
- Haunted Castle, The (1921)
- Last Wave, The (1977)
- Naked Lunch (1991) * Weird and Wacky *
- Phantom Carriage, The (1921)
- Lolita (1962)
Clockwork Orange, A (1971)
Genre: Crime Drama Sci-Fi (UK)
Starring: Malcolm McDowell (Caligula • If....), Patrick Magee (Barry Lyndon • Marat/Sade)
Overview: In the near future, a young hoodlum is put into the prison system where he volunteers to be the subject of a new treatment promising a cure for his criminality.
Prison Chaplain: Choice! The boy has not a real choice, has he? Self-interest, the fear of physical pain drove him to that grotesque act of self-abasement. The insincerity was clear to be seen. He ceases to be a wrongdoer. He ceases also to be a creature capable of moral choice.
Minister: Padre, there are subtleties! We are not concerned with motives, with the higher ethics. We are concerned only with cutting down crime and with relieving the ghastly congestion in our prisons. He will be your true Christian, ready to turn the other cheek, ready to be crucified rather than crucify, sick to the heart at the thought of killing a fly. Reclamation! Joy before the angels of God! The point is that it works.
The question, that fundamental question about man versus society, about law and order versus individual freedom, is asked in its most extreme example in A Clockwork Orange. Take one man: a hooligan, a hood, a thief, a gang-leader and a rapist, then make the audience feel pity for him. Good luck with that, yet, it is the magic of Anthony Burgess' book, one that asks 'by any means necessary? or At what cost?' From this incredible story comes an incredible film. Stanley Kubrick managed to make the worst kind of criminal shine brightly on the big screen. It's a perfect film for many reasons, most notable its writing and visual style. The book's author invented a slanguage that plays wonderfully on the synapses. Visually, the fashion of the future is loud as can be, from Alex's mother's wigs to the rival gang outfits, though the highlight is Alex's own gang attire including a bowler and that ironic, iconic single eyelash that instead makes its femininity a sinister symbol.
Performance: 9 Cinematography: 10 Script: 10 Plot: 9 Mood: 9
Overall Rating: 94% (Videy Ye Glazzies, She'll Stick In Ye Gulliver)
Malcolm McDowell has always and will forever mean A Clockwork Orange to me. I've never known another actor to subject themselves to being strapped down with their eyes forced opened with specula. When I first saw this at a young age, I always thought that was a particularly dedicated moment of acting.