<ong>A Clockwork Orange
From its opening shot of Malcolm McDowell staring with evil intent directly into the camera (which pulls back to reveal him drinking a glass of milk), Stanley Kubrick’s brilliant A Clockwork Orange announces itself as a completely new kind of viewing experience. The film, set in an unidentified future, overwhelms the senses with its almost comic depictions of rape and violence set to an upbeat classical and pop music score. Kubrick based his chilling masterpiece on Anthony Burgess’s culture-shaking novel about a young man growing into adulthood, but unable to shake his huge problem with authority figures. The first part of the film shows Alex (a career-defining performance by McDowell) and his “droogs” (his cohorts) indulging in what they refer to as “a little bit of the old ultraviolence.”
After establishing Alex and co. as unremitting psychopaths, Kubrick’s movie changes tact, and shows Alex getting caught and forced to undergo controversial treatment that will make it impossible for him to commit violent acts, leading
to a fascinating ending to the film. A Clockwork Orange purposely confuses crime and punishment, cause and effect, hero and villain, irony and satire, and many other concepts, creating a truly unique work of art in the process. Its magnificent, colorful, futuristic set designs and utter determination to shock, frighten, and thoroughly entertain left audiences reeling in the ’70s. Kubrick even withdrew the film from distribution in the UK, after reading newspaper reports of people dressing up as Alex and his Droogs and meting out their own brand of ultraviolence (it was subsequently rereleased after his death). One thing is for sure: No one who has seen it has ever been able to hear “Singin’ in the Rain” or Beethoven again in quite the same way.
Watchmen
For those obsessed with the critically acclaimed graphic novel (which would be almost anyone who has read it), or for audiences looking for a stylish action film, Watchmen is worth-well-watching. But those who thought The Dark Knight was too gloomy should stay far away from Zack Snyder’s film. As far as superhero movies go, this graphic adaptation of the comic book series from Alan Moore and Dave Gibbons makes even Christopher Nolan’s Batman films look like Saturday morning fare. Director Snyder and the screenwriters certainly deserve credit for crafting an adaptation of a work that has been deemed unfilmable since its 1986 release.
Mammoth and mazelike, Watchmen follows a group of retired costumed heroes living in an alternate 1985 where Nixon is still president and fear of nuclear doomsday permeates the air. When a hero named the Comedian (an excellent Jeffrey Dean Morgan) is murdered, his former colleague -the unhinged, masked Rorschach (a perfectly creepy Jackie Earle Hayley)-begins investigating who is behind the death. The other masked crimefighters -Silk Spectre 2 (Malin Ackerman), Ozymandias (Matthew Goode), Nite Owl 2 (Patrick Wilson), and Dr. Manhattan (Billy Crudup), a godlike being who is the only one with actual superpowers-soon learn that there may be a plot to rid the world of their kind.
Snyder’s previous work in action (300) and horror (Dawn of the Dead) proves to be preparation for this visually stunning film. The fight sequences are fantastically shot by director of photography Larry Fong, and the action can alternately make viewers hold their breaths at its composition or gasp at the shocking violence. Most will agree that Watchmen is not a comic book movie for kids: there’s sex and violence aplenty, but it truly makes itself a film for adults with its smart, complex storytelling.
