Barry Lyndon

Fully appreciated after a second viewing (and in the restored version in the cinema). I still feel that I would have to watch it at least twice more to clarify my uncritical enthusiasm and to come up with better superlatives than "Kubrick was just different", but I can say that you probably won't find a more beautifully filmed biography in any film archive. Kubrick not only paints the screen better than Bertolucci, but above all, with a clever helping of amusingly ironic commentary, he narrates with complete mastery, elevating a three-hour personal portrait to the highest cinematic art with every thoughtful cut or musical accompaniment, like a bubble in a spirit level maintaining the demanding rhythm of the narration. While the first two thirds are unmatched for their quicker changes of location and major twists, the final family section is not lacking in stunning formal precision, and its thoughtful denouement surpasses even the similarly paced conclusion of Gone with the Wind. And once again, I have to marvel at how fantastic the film looks and how superbly it orchestrates everything on the mise-en-scène, so that the camera mostly just needs slow zooms or horizontal runs – for example, in the card scene, it's fascinating that only one character ever looks up from the table while the others have their eyes downcast. And the icing on the cake is the excellent performance of Ryan O'Neal. Yeah, Kubrick was just different. (05/10/2018)

Even though one might think that this will be an unbelievable boredom, that even Kubrick couldn't accidentally direct, the Master once again proves that this is a film that captivates. Even though it's not action-packed, you will still be on the edge of your seat, whether it's because it's entertaining, dark, intimate, and sometimes simply sexy, albeit in its own way. Those three hours will go by quite quickly. (03/02/2015)

An epic tale that follows the life of Redmond Barry, who became Barry Lyndon, I loved it in every way, but I'd highlight the engaging cinematography, the great period music, and the impeccable costumes and hairstyles. But the actors didn't slack off either. Ryan O'Neal's performance in particular is stunning. It's incredible how a long and, above all, stable and sensible story can be told in a three-hour running time. And master Stanley Kubrick managed to do it with panache. In short, a film with everything, offering the audience a whole range of genres. (03/19/2011)

It will be all praise, but what else can be said about a film that, despite its three-hour runtime, I devoured like a raspberry? The composition of the images, the thoughtful use of colour and contrast, the perfect choice of interiors and exteriors, the magnificent cinematography, the well-chosen period music; even the costume designers did their best. All this for the pleasure of the eye, which grazes heartily for three hours. And on top of that, a slightly sarcastic story that draws the viewer in and doesn't let go until the closing credits. There’s no risk of boredom... After Dr Strangelove, my second favourite Kubrick film. (10/05/2004)

A slowly unfolding, utterly unpredictable, and almost intimate story of one man who greatly influenced the fates of many people. Kubrick presents his most magnificent work cautiously, perhaps somewhat unevenly, but every, even the smallest scene, has its justification in the final outcome. Furthermore, he chose the perfect actor, Ryan O'Neal, for the main role, who showcased his acting skills the most in gradually escalating scenes of a card game or interrupted concert. The narrator, however, remains a flaw, as while filling in the gaps nicely, their guiding speeches harm the tension of the unfolding events. (04/20/2006)