The first thing to bear in mind are that this film was hyped way beyond necessity. As if the general public had any interest in the "Kubrick" listed below "Cruise" and "Kidman". To them this was just another Big Actor's next Big Movie. Passing it off like a "real Hollywood couple gets busy on the big screen" heightened expectations for something Kubrick wasn't trying to achieve. It suffered the same audience reaction as The Phantom Menace, and made only a fraction of the money.

Critics seemed to be lining up to take potshots at this film. Why? Recent history shows us that all of Kubrick's films from 2001 onward have been attacked critically, and subsequently hailed as classic years later. The same is true of most of Orson Welles' work. Few critics took the time to see this movie more than once before spewing their venom. A filmmaker like Kubrick is not going for direct emotional contact with the audience. He is aiming far deeper, asking the viewer to reflect on not only the images, but the themes, and the emotional investments of the characters. The subtlety is not something common in today's films, and something critics apparently can't process quick enough to meet a press deadline.

For all those complain that the film isn't sexy or erotic enough are missing the point completely. It's not about sex. It's about many other things, some of which linger in the background, some that aren't noticeable on the initial viewing. Kubrick raises questions about our institution of marriage, the nature of faith, commitment, temptation. That most in the audience weren't willing to meet Kubrick, Cruise, and Kidman halfway in this meditation isn't a comment on the quality on the filmmaking, it's a shortcoming of the sensory-deadened society. If Kubrick had been more in touch with today's film culture, would he have bothered to give us this complex of an experience? Let's thank him for his seclusion.

A NOTE on the DVD not being letterboxed: Kubrick (again, like Welles) preferred the aspect ratio of television, and left extra space in his frame for their widescreen theatrical showings (some are letterboxed on Home Video as well). The Shining, Full Metal Jacket, and Eyes Wide Shut are meant to be seen in the full-screen standard format, and therefore aren't available in letterbox, so don't feel you're being cheated out of any compositional content. Unfortunately you are being cheated by Warner Bros' refusal to remove the digital figures blocking the orgy scenes, inserted for theatrical release to secure the "R" rating. Only in America...