Customer Reviews

Stanley Kubrick: Warner Home Video Directors Series (2001 A Space Odyssey / A Clockwork Orange / Eyes Wide Shut unrated / Full Metal Jacket / The Shining / A Life in Pictures)

5 star:		(30)
4 star:		(11)
3 star:		(3)
2 star:		(0)
1 star:		(1)

 

 

There's a fair amount of misinformation about aspect-ratio (screen-shape) in these customer reviews. I oversaw numerous film restorations for a major American film studio for more than a decade, so I know this subject matter rather well.
Here are some facts concerning the aspect-ratios of Kubrick's films from "2001" on. Of these films, only "2001" was filmed in "widescereen," if we are using that term to refer to the processes known as Cinemascope, Panavision and Super 70mm, which have a screen aspect-ratio (height-to-width ratio) of 1 unit of height to 2.35 units of width (i.e., the image is more than twice as wide as it is high). This "widescreen" aspect-ratio can only be displayed in its entirety on any TV screen by placing matte bars above and below the image.
Every Kubrick film after "2001," from "Clockwork Orange" to "Eyes Wide Shut," was shot on 35mm film and was filmed "flat" (a term meaning the image was not anamorphically squeezed in the original 35mm photography and is not "widescreen" as defined above). These films were photographed filling the 1-to-1.33 35mm film frame from side-to-side and top-to-bottom, with no mattes. This 1-to-1.33 frame matches the old TV screen perfectly; but it has not been used for theatrical presentation since the 1950s.
For their theatrical presentations, Kubrick had these films matted at the top and bottom, deleting the tops and bottoms of the original image and changing the aspect-ratio from 1-to-1.33 to either 1-to-1.66 or 1-to-1.85 (making the image a bit more than 1&1/2 times wide as it is high). For Kubrick to retain absolute control of the matting of these films, the matte was most likely printed into the theatrical printing negative at the lab, and thus printed into every release print (as opposed to letting the projectionist slip a matted aperture into the projector gate, which can result in "human error").
For home video, however, Kubrick's films (post-"2001") have until now been released using the entire original 1-to-1.33 film frame (preserved on the original negative), dispensing with the theatrical matte and including the tops and bottoms of the 1.33 image, which were not visible in theaters and were not intended to be. The unmatted image thus fills the old 1.33 TV screen without having to cut off the sides to make it fit.
Some opinions: I think it's fair to assume that the matted theatrical aspect-ratio is the one for which Kubrick framed his shots; I find it impossible to believe that he thought of the later VHS/DVD release as his main priority in terms of composition. It makes a difference: for example, close-ups are closer, tighter in the matted theatrical versions than in the unmatted home video/TV versions because of the additional space at the top and bottom of the unmatted home video/TV frame.
Based on this, the new 16x9 DVD releases, by recreating a close approximation of the shape of the matted theatrical image, provide a much more accurate representation of Kubrick's compositional intentions for these films than any previous home video release. It is true that 16x9 is not precisely identical to either the 1-to-1.66 or 1-to-1.85 theatrical aspect-ratios Kubrick used after "2001," but 16x9 is much closer to his theatrical aspect-ratios than was the old 1-to-1.33 TV ratio, and it serves his compositions far better.
As for why Kubrick instructed Warner Bros. to release his post-"2001" films for TV and home video using the entire unmatted 1.33 image, I'm sure he did not foresee 16x9 televisions and was simply trying to solve the problem of the 1:1.33 TV screen. In order to be able to fill the 1.33 TV screen from top to bottom without losing any image on the sides, he made sure the entire unmatted 1.33 film frame could be used by "protecting" the tops and bottoms of the frame -- no booms, lights or set-tops visible. Thus, in the old 1.33 TV transfers, there was more image at the tops and bottoms of shots than was visible in theaters, even though the added space misrepresented Kubrick's compositional intent.
Now, in these new 16x9 transfers, Kubrick's original, wider, theatrical compositions have finally been recreated for TV. In 16x9, close-ups are the right size, empty headroom is eliminated, and we see the images the way Kubrick designed them.
I hope some of this was useful, and "Thank you!" to those in Kubrick's circle who authorized the release of these films in 16x9.
NOTE TO WARNER BROTHERS HOME VIDEO: I sure hope a 16x9 High Def DVD release of "Barry Lyndon," an indispensable expression of Kubrick's humanistic and cinematic ideas, is imminent!

This is the first of Warner Home Video's new Director Series DVD sets. Included are brand new versions of:
2001: A Space Odyssey - Special Edition (2-disc)
A Clockwork Orange: Special Edition (2-disc)
Eyes Wide Shut: Special Edition (2-disc)
Full Metal Jacket: Deluxe Edition
The Shining: Special Edition (2-disc)
All titles have been restored and remastered and will offer both archive and new bonus features. The documentary "Stanley Kubrick: A Life In Pictures" will also be included in this set. Apparently missing from this set, but also being released in new versions individually on October 23, are Lolita and Barry Lyndon. Eyes Wide Shut will include both the rated and unrated versions. No new release of Dr. Strangelove is planned, nor will it be included in this set either. All titles contained in the boxed set with the exception of "Full Metal Jacket" will be available separately, including the documentary.

All of the included films will have commentary, although "Eyes Wide Shut" will have only scene-specific commentary. The following are the extras included for each film:

2001: A Space Odyssey (1968) - A film full of technical details about space travel before we'd even been to the moon coupled with much to think about in the realm of what it means to be human. Disc 2 will have the following extra features:
Channel 4 documentary: 2001: The Making of a Myth
Standing on the Shoulders of Kubrick: The Legacy of 2001
Vision of a Future Passed: The Prophecy of 2001
2001: A Space Odyssey - A Look Behind the Future
2001: FX and Early Conceptual Artwork
Look: Stanley Kubrick!
Audio-only interview with Stanley Kubrick
Subtitles: English, French, Spanish

A Clockwork Orange (1971) - Difficult to sit through, Malcolm McDowell gets the role of a lifetime as a sociopathic youth in futuristic society who agrees to go through "aversion therapy" in order to be cured. His character is simultaneously repulsive, interesting, and sympathetic. It's hard to believe what you're watching, it's harder to believe what you're thinking about what you're watching. Disc two will have the following features:
Channel 4 documentary: Still Tickin': The Return of Clockwork Orange
New featurette: Making A Clockwork Orange
Career profile: O Lucky Malcolm!
Subtitles: English, French, Spanish

The Shining (1980) - A psychological thriller has a family acting as caretakers for an old hotel that is totally isolated in the winter. Jack Nicholson's character is fighting his own demons before cabin fever ever sets in and the hotel begins to "speak" to him. Is he really possessed or is the hotel just bringing out what was really in him all along? Disc two includes the following features:
Documentary: "The Making of the Shining"
Three new featurettes: "View from The Overlook: Crafting the Shining",
"The Visions of Stanley Kubrick", and "Wendy Carlos, Composer"
Subtitles: English, French, Spanish

Full Metal Jacket (1987) - The film seems to be in two distinct parts, but actually one half is just a reflection of the other under different circumstances. The film is all about how humans handle duress - during wartime where life and death is at stake, and during training where extreme beratement and social isolation can cause people to snap too, even though they are physically "safe". This DVD will not be available separately. The extra features included are a new featurette and a theatrical trailer.

Eyes Wide Shut (1999) - Disc two will have the following features:
Documentary: The Last Movie: Stanley Kubrick and Eyes Wide Shut
Lost Kubrick: The Unfinished Films of Stanley Kubrick
Kubrick's 1998 D.W Griffith Award acceptance speech
Interview gallery with Tom Cruise, Nicole Kidman, and Steven Spielberg
Subtitles: English, French, Spanish

All of the information I show on the extra features came from a press release from Warner Home Video, and they do look fabulous. The one thing I dislike is the fact that Dr. Strangelove, Kubrick's finest film IMHO, gets the boot in this set.

There evidently is an issue with availability of this set. Warner Home Video switched to a new fulfillment software which caused some distribution problems for this set.

FYI, while the box states that both versions of"Eyes Wide Shut" are included, they aren't. So we have the international version as the only one on the disc. If you're looking for the rated edition, you'll have to pick up the previous edition of the film on DVD. Evidently Warner elected not to include both back in Sept. but the boxes weren't reprinted to indicate this. I'm sure many fans will not miss it since it is "censored" but there will be some folks that will want it no matter what.

"Eyes" is also missing Sydney Pollack's commentary track that was originally to be on the set. As to why "Barrie Lyndon" and "Lolita" are missing at (10/23/07)this time rumor has it that they require some additional digital tweaking/restoration and Warner wanted to get the set out before Christmas.

All the films look spectacular with a little more information on the sides for many (but not all) of the films. All are presented in anamorphic widescreen so those with widescreen sets will not have to adjust their sets as they did with the full screen presentation of "The Shining" and "Full Metal Jacket" (the films were shot in a full screen format because Kubrick recognized that when they would be shown on TV and home video they would be in a pan and scan format. He didn't want that. These aspect ratios represent how they were supposed to be shown in theaters).

What you do get is pretty spectacular though and fans that didn't buy the previous sets will be happy with this version of the box set.

We get two disc special editions for every film here except "Full Metal Jacket" with numerous extras. Warner has licensed a number of documentaries produced about these films from the UK's Channel Four. Also, each film has a commentary track (except "Eyes Wide Shut" which for some reason is missing Sydney Pollack's commentary track that was advertised as being part of the set when it was announced).

The second disc for each film has a number of new featurettes produced for these editions. "2001: A Space Odyssey" has featurettes comparing the original production art to some of the final sequences, as well as featurettes looking at how Kubrick and company envisioned the future. We also get a discussion on the visual effects. There's also a vintage documentary on Kubrick called "Look: Stanley Kubrick" as well as an audio only interview from 1966 as Kubrick was gearing up to make the film. I only listened to the audio commentary track intermittantly but could have sworn I heard Douglas Trumbull on there in addition to Keir Dullea and Gary Lockwood.

"A Clockwork Orange" has an excellent and informative commentary track with star Malcolm McDowell and film historian Nick Redman. We also get the Channel Four documentary that Warner has licensed. Additionally there is a new featurette on the film "Great Olshy Yarblockos!Making A Clockwork Orange" and a profile of actor McDowell by long time Kubrick collaborator Jan Harlan.

"The Shining" ports over Vivian Kubrick's documentary (on the second disc)from the previous edition. We also get a commentary track by Steadicam Inventor Garrett Brown and film historian John Baxter. Three new featurettes focus on the making of the film, design and the score by composer Wendy Carlos.

"Full Metal Jacket" has a commentary by stars Adam Baldwin, Vincent D'Onofrio, R. Lee Emery and film critic Jay Cocks. The new featurette "Full Metal Jack" Between Good and Evil" includes vintage behind-the-scenes production footage and new interviews.

As mentioned "Eyes Wide Shut" does NOT have Sydney Pollack's commentary track. No mention if Warner is going to send out replacement discs for this one or not. We also get a 3-part Channel 4 documentary on the making of the film. A new featurette "Lost Kubrick: The Unfinished Films of Stanley Kubrick" which focuses on projects he never got to complete. An interview gallery with Tom Cruise, Nichole Kidman and Steven Spielberg discussing the making of the film. Kubrick's 1998 Director's Guild of America Award acceptance speech as well as theatrical and TV spots for the film.

Finally we get "Stanley Kubrick: A Life in Pictures" the documentary by Jan Harlan about Kubrick that was included in the previous set from Warner of Kubrick's films. As near as I can tell this hasn't been altered from the previous version.

While this is an excellent set, it's a pity that Warner goofed up in not including both versions of "Eyes Wide Shut" and Pollack's commentary track.

First of all... the movies are all great. I won't even begin to talk about the films themselves. Suffice it to say that they're all brilliant films and need to be owned.

Second... it's a welcome treat to have these again, remastered, with plenty of bonus material. In my opinion, the bonus material on the "2001" disk is worth the price of everything!

BUT... there are some flaws. I agree with the previous reviewer that the packaging is weak... the individual cases in the box do not come with the nifty outer slipsleeves that the individual releases do. Like the previous reviewer, I place my DVDs in chrono-order on the shelf by the director, so I will take them out of the box. Disappointing.

More importantly, "EYES WIDE SHUT" does not come with the promised features. It DOES have the unrated, European uncensored version (thank goodness!!)... but it does NOT have the rated version. Even the packaging says you can choose between rated/unrated versions and both were supposed to be on the disk. Only the unrated version is on the disk. Also, it was advertised that this film would come with commentary by Sydney Pollack and someone else... but it doesn't. It's not on the packaging, either... there is no commentary at all on this film.

To alleviate other fears, "The Shining" is the complete 144 minute version.

Everything else about the box is great. So... kudos to Warners for doing it in the first place... finger-wagging to whoever was in charge for messing up a few things.

What can one really say about the five films contained within this latest go-round of remasters? Nearly ten years on, the debate concerning the cinematic worth of Kubrick's post-Clockwork Orange efforts has yet to be resolved in favor of any one particular film. Still, this collection is a welcome effort at anthologizing his later works. The inclusion of the original, uncensored cut of Eyes Wide Shut is especially nice to see, as it might be seen as an admission by Warner Brothers that Kubrick knew exactly what he was doing, and that, by inserting CGI figures to hopfully obscure what everyone who actually saw the orgy scene during the U.S. version knew was happening onscreen, the studio had in effect perverted Kubrick's intent. In a way, the training wheels of Eyes Wide Shut have finally been taken off for the American audience. The greatest drawing feature of the set will presumably be the fact that the five films included are presented in their original aspect ratios, many for the first time ever (I think). That means that 2001 is in the original Cinerama aspect ratio of 2.2/1, A Clockwork Orange is in the proper 1.78/1 ratio and has been enhanced for widescreen televisions, and the other films are in what I presume is their original 1.85/1 ratios. Having The Shining and Full Metal Jacket in their proper ratios is reason enough for me to buy the box. However, there is a small caveat: the soundtracks have been remixed into 5.1 Dolby Surround. This means, for those like me who do not have a home theater system, the sound can drop in and out at times. It's a small complaint, and one that really just drives me that much more to acquire a home system. There is another complaint, this one of more import: Barry Lyndon is MIA. I realize that this was probably Kubrick's lowest-grossing film at the box office between Spartacus and Full Metal Jacket, but the sheer technical accomplishment of Barry Lyndon would seem to earn it at least a place at the table of Kubrick's post-Dr. Strangelove efforts. My copy is the older one from some years back, but the ethereal beauty of the film is, in its own way, equal to the technical accomplishments of 2001. Warner Bros. should definitely have thought twice about omitting Lyndon, as it's novel-like approach and presentation have become all too rare in a worldwide cinema industry which equates bang and blood with revenues. So, in my pompous way, I'm docking this set a full star for omitting Barry Lyndon. However, this should in no way dissuade you from getting this collection as soon as is humanly possible. After all, one wouldn't turn down a box set of masterpieces by Welles, Hitchcock or Griffith, would you?

Addendum: It has come to my attention that the first run of this Kubrick collection only contains the uncensored version of Eyes Wide Shut, rather than both the unrated and R-rated versions as advertised. This is of no consequence to me, as I prefer the uncensored version. However, for the true completist and price-gouging vultures, purchasing both might be of interest.

I had a hard time deciding on an appropriate rating for this collection and am still not fully confident in my choice.

These are spectacular motion pictures and Kubrick was a master. The special features are a-plenty and provide wonderful insight into the man, his collaborators, and his art.

There are some pressing issues with this set, or at least the one I received from Amazon. Some aspects that have been brought up by other customers/reviewers are true, but don't bother me much. Indeed the EWS set does not include the edited U.S. edition as it states, and yes, the art is mostly different on the individual cases. I take little issue with these points however. What does bother me are two particulars regarding the aspect ratio [I will concentrate on 'The Shining' for this review] and the quality of the set packaging.

I have the earlier U.S. editions of these films. Out of curiousity, having known for years about the 'full aspect ratio' noted in the previous release of 'The Shining', I set up both editions of this film side by side using the same screens, players and settings. While a very small portion to the right and left of the screen are indeed enhanced in the new 'widescreen' edition, portions of the top and bottom are heavily cropped, which dilute the image fullness. The picture gained in the widescreen is far less than the picture lost, so there is not a balance as one would hope.

Stanley filmed (beginning in the late 1970's) with simultaneous consideration for widescreen presentation in theatres, and 4:3 'full screen' on TV and home video use. Someone with influence decided to concentrate on widescreen for these releases, but whom? Are we to assume that Stanley wanted to forever dismiss his 'full screen' interpretations at a cost of a large portion of his filmed material?

Add the fact that - and this may simply be my opinion - the newly 'remastered' WS edition of 'The Shining' just doesn't look as sharp and clean and the older FS edition. Since the scene selection times are identical, it makes it appear as though the transfer was simply cropped, with the compromise being a tiny amount of additional picture to the sides. Since most (4 of 5) motion pictures are 2-Disc sets why not have made both options available?

Why did he consider both apsect ratios while filming? As I understand it, the story is quite simple. Stanley filmed '2001' in widescreen. Afterward, he was appalled by the pan & scan effect utilized to present the film on television. From that point forward, he broadened the scope of his filming. I certainly did not speak to him personally, but this makes sense to me.

Finally, I must say that the packaging is quite flimsy. The box itself, of which I have less of an issue with, is plain, light, and quite weak. Moreso however, the 'windows' of the individual DVD cases seem terribly thin and don't fit firmly, unlike in standard U.S. DVD cases, making them seem easily prone to damage from standard use. As a matter of fact, one of them came with an unattractive fold along the spine.

If these issues have already been addressed, my apologies, but this was nevertheless disappointing after such great anticipation of its release.

Five of Stanley Kubrick's finest films; 2001: A Space Odyssey, Clockwork Orange, The Shining, Full Metal Jacket and the uncensored Eyes Wide Shut are presented, for the first time, in anamorphic widescreen which should appease Kubrick fans in spite of Kubrick's insistence that the scope of films like The Shining and Full Metal Jacket were intended to be seen in their original 1:33 and 1:66 aspect ratios, respectively, on a 4:3 television screen. Regardless of the controversy, the widescreen transfers look gorgeous on the canvas of a 16:9 widescreen television. The scope of space on 2001, for example, is vast an infinite and draws the viewer into Kubrick's masterful vision and truly exemplifies his films as a testament of high cinema art.

What's missing from this set, however, are several important films from Kubrick's distinguished body of work such as Barry Lyndon (a personal favorite) whose stunning cinematography remains unmatched, and Lolita, which are both owned by Warner Bros. but are astonishingly not included. Whether this is a cruel oversight or intentional, their absence from this collection is inexcusable. Other works like Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb (Special Edition), Paths of Glory, Spartacus, Fear and Desire (unavailable), The Killing and Killer's Kiss are owned by MGM/Sony so their exclusion from this set is somewhat understandable but still remain important achievements of Kubrick's uncanny repertoire that should not be overlooked by any appreciate of film. Perhaps this set should be considered a better representation of the "Essential" Kubrick and a tome of "Best Of" some of his more popular works.

As for the cover art, personally, I prefer the minimalist artwork on the box set versions. They are simplistic and iconic. 2001 has HAL's ominous red eye, Clockwork has Alex's mischievous eyelash eye, Eyes Wide Shut has the mask and Full Metal Jacket has the Born-To-Kill helmet. What more do they need? My only disappointment is the cover art on The Shining, the same old "Heeeeeeeeere's Johnny!" shot of Jack that has been packaged on every single release since VHS. I would have prefered the "Redrum" cover art that was originally advertised in the press release but it was inexplicably not used.

Whether you buy them individually on HD or Blu-ray or are waiting for a high-def box set, this standard def set is still a welcomed upgrade. Full Metal Jacket is only available on standard DVD in this set but is available individually on HD and Blu-ray. A Life In Pictures documentary, however, is not available on HD at this time. We will likely never see any kind of "Complete" Kubrick collection of all of his films offered in a single box set on any format and it seems we will have to wait a bit longer for more of a "Complete" Kubrick set with remastered anamorphic versions of Barry Lyndon and Lolita which hopefully will be available within our lifetime.

Length:: 5:49 Mins

A visual look at the Stanley Kubrick Collection released by Warner Brothers. This is a 10-disc set that is very good and well worth the money.

I understand leaving Strangelove out. The 40th anniversary edition is sufficient. (Great special features on that 2-disc set! But, alas, no commentaries.) I understand leaving Paths of Glory out. I already own the recent dvd release and it's perfectly acceptable. And I certainly understand leaving Spartacus out. Criterion (always reliable) has already done it, beautifully. But why release Barry Lyndon and Lolita separately and without commentaries or special features? Do we have to keep waiting for those (imo) essential extras to modern masterpieces of cinema? Who's running this show at Warner's? Why go to all the trouble and stop short of what people really want?
Why not release a second set with The Killing, Paths, Lolita, Strangelove and Lyndon? (Fully loaded with commentaries and special features.) Maybe that's not a set many would buy. (I would have.) But it could have been split up differently at the start. Making the two sets more attractive by mixing them up. Perhaps by release date. Five and five. Set 1- Killing thru 2001. Set 2- Clockwork thru Eyes Wide Shut. Make it impressive and it will be irresistible.
Having expressed my disappointment about that. Which, again, I understand comes down to sell-ability, I'll now discuss what has been made available. The overall quality of the set is very good. I appreciate the new widescreen/masked transfers. The shadow of the helicopter in the opening shot of 'The Shining' has always puzzled me. Could this possibly have been an oversight by Stanley? I shuddered to think it. Seeing that it no longer appears in this version, I come to realize that this is the proper aspect ratio. Regardless of what is lost to the top and bottom of the image. And most of the new special features are very interesting and well put together.
But the commentaries are the best and worst of this new set. Another reviewer has already said what a wonderful job Garrett Brown does on `The Shining" track. Amen! Malcolm McDowell, although he does cover familiar ground (stories of the production I've already heard a few times now) he does seem to take it seriously. Though he seems mostly serious about saying what a brilliant film he's made. Giving Stanley all the credit in the world, mind you. Even the FMJ commentary benefits from multiple actors with different takes and Jay Cocks definitely seems prepared to deliver an `off-the-cuff' track, adding real depth and insight.
No, the really disappointing thing to me was the 2001 commentary and the lack of one for EWS. Gary Lckwood and Keir Dullea, bless their hearts, do provide an intersting few moments for 2001, but c'mon. They disappear for long stretches letting the film apparently speak for itself. Which seems to miss the point of a commentary track. I must say Lockwood comes off looking a little better here, giving some interesting insights and a few good inside stories. Dullea pipes up only occasionally to tell us that yes indeed that is him in the picture and at one point actually says he's not quite sure what HAL stands for. I had to laugh at that one. Not at good ol' Keir, memories can be elusive. But rather at Warner Bros. There must be hundreds of people who could provide fascinating commentary for this movie, giving fans something new to think on or ponder over. Why is this so hard? Why can't other studios learn from what New Line and Peter Jackson did for LOTR and give the people what they want? Everything!!! (I understand there isn't as much behind-the-scenes material for these films.)
Oh, well. You may, after reading this, wonder why I gave this set a four-star review. Seeing as I have so many complaints . The answer is simple. Stanley Kubrick. The films continue to amaze, inspire, teach and entertain. He's a monolith of filmmaking. And the transfers here look gorgeous. The colors really pop. So, bravo for that. But why stop short when it comes to some of the other stuff. Stanley woudn't have! And you all at the WB keep telling every one how great he was for never giving an inch. Too bad you didn't learn the lesson.

While it's true Kubrick wanted the full frame transfers for home audiences, that is because the TV's of the time could not simulate the widescreen of the theaters, which (if you read the cinematographers rebuttal at IMDB about The Shining), virtually all of Kubrick's films were framed for, including The Shining. I have no doubt had Kubrick known the widescreen revolution was invading homes, he would gladly do a turn about on his initial full frame decision.

This box set is an unbelievable value, especially when you consider The Shining has never been released in anything other than full frame. And these are some of the best films of all time, so you can't go wrong.