Saturday, February 3, 2018


Sometimes you'll find tidbits of Kubrick-related ephemera in the strangest places. For instance, in Daniel Raim's documentary Harold and Lillian, A Hollywood Love Story! This doc "tells the story of husband-and-wife team Harold and Lillian Michelson, who brought their talents as storyboard artist and film researcher, respectively, to numerous Hollywood classics including The Ten Commandments, Ben-Hur, and The Graduate, and working with such master filmmakers as Hitchcock, Spielberg, and Kubrick." How does Kubrick fit into this one? Well, a quick look at the poster, above, provides a pretty good clue!
I full realize that "unboxing" videos are, in many ways, symptomatic of what's gone wrong with the Internet, social media, and late-Capitalist decline in recent years, but just try and keep from drooling when the lucky so-and-so's in the video below "unbox" Taschen's limited edition (and sold-out) 'Stanley Kubrick's Napoleon: The Greatest Film Never Made'...

Den of Geek has an extended examination of the great Clockwork Orange Ban myth... the real facts of the case, how the myth surrounding it began, and how that myth evolved into a big part of what solidified Clockwork Orange's 'street cred' as a legendary "dangerous movie".


Criterion's latest version of The Killing gets top marks in this Christopher Aguiar review. I particularly liked this insight into the film:
The Killing often operates as a film about making movies. Johnny Clay is Kubrick in this reading. Both assemble teams, both decide on an end-goal and both craft a plan to get from point A to point B. Much like filmmaking, Clay needs his counterparts to pull their own weight. His wrestler friend has to instigate the bar brawl, Cook Jr. has to ensure that every door remains open. Without their collaboration, Clay cannot carry out his heist. Without the collaboration of his actors and writers, Kubrick cannot assemble his story. As aforementioned, it is the small unconsidered details that can derail a heist. The same can be said about filmmaking. You consider all the variables, but then it may rain on set – at that point, your period of filmmaking for the day is, effectively, over.
Someone over at the Ultimate Guitar website's forum decided to do the sort of thing I've been doing at Kubrick U for a while now, and assembled a collection of music videos that reference the films of Stanley Kubrick. Their list features such diverse artists as Kanye West and Lady Gaga to Blur and Guns and Roses. One that was new to me was this one for "Time is Running Out" by neo-prog band Muse. Enjoy!

In this article for the Daily Trojan, British directorial phenomenon Edgar Wright cites "his parents’ favorite filmmakers as vital to his creative upbringing, specifically choreographer Busby Berkeley and directors Alfred Hitchcock and Stanley Kubrick." It's enough to make this would-be filmmaker feel really, really old and past my due date.
In a recent article for The Drive, entitled 'Autonomous Cars and the Great Failure to Communicate', Eric Adams explores how "Aviation can help carmakers learn to talk to drivers, but they'd be better off asking Stanley Kubrick." After going over some of the mistakes that current industry leaders are making in this area, Adams explains how his own... reference has actually become—in all seriousness—Stanley Kubrick. Go watch 2001: A Space Odyssey from 1968 and look at the control panels of the separate spacecraft used to reach orbit, fly to the Moon, translate across the lunar surface, and, later in the film, operate the extravehicular activity pods. Those aren’t the whimsical riffs of a 60s set designer; they’re thought-out projections of what human-machine interfaces would be like in a more advanced technological society, envisioned by Kubrick and Arthur C. Clarke, who co-wrote the screenplay. Some are more complicated than others, but the gist is the same: The system does the thinking and tells the operator what he or she needs to know. Take that left-hand screen (below) with the automatic landing guides and replace it with a big green arrow, and it could be the next semi-autonomous Cadillac.

I’m guessing, by the way, that it’s likely that when Elon Musk and Jeff Bezos unveil the control panels for their own spacecraft at SpaceX and Blue Origin, respectively, they’ll look more like a Kubrick creation than, say, the overwhelmingly complex Space Shuttle of yore—simple, clean, with necessary data, sure, but not incomprehensible boatloads of it.
It's a thought provoking article that should appeal to techies of every stripe, Kubrick fan or no. 

As part of his brisk review of the 1972 giallo Your Vice is a Locked Room and Only I Have the Key, critic Matthew Lickona goes off on an extended Kubrick-related tangent:
A bit of serendipity: last week, I happened upon Jon Ronson’s short documentary Stanley Kubrick’s Boxes, about the years he spent sifting through the director’s dizzying, even terrifying collection of research material, fan letters, memos, etc. Kubrick was famous for being incredibly exacting, for maintaining a level of precision and care that made every frame matter. But it cost him: Waterloo came out and flopped while he was still in pre-production on his Napoleon epic, and the spooked studios killed the project. (The reams of research material for that one were eventually transformed into a book, subtitled The Greatest Movie Never Made*.) The same thing happened with his planned Holocaust movie — Spielberg made Schindler’s List in the time it took Kubrick to do his research. And Full Metal Jacket famously got beaten to the punch by Platoon. There’s much to admire in The Shining. But there’s also much to enjoy in this brisk, brusque, bloody, bawdy Italian cheapie.
*See above for the unboxing of the book in question.


Witness 23 minutes of gameplay demo from Lust for Darkness, a videogame that's being called "Eyes Wide Shut meets HP Lovecraft" by some reviewers.

In the context of an interview about his most recent turn as the Devil in American Satan, Malcolm McDowell continues to use his public appearances as a chance to explore his evolving feelings re: his relationship with Kubrick, particularly about how things went down after they finished working on Clockwork Orange together:
McDowell is aware he still gets recognized for his most iconic character, that of Alex, a sadistic gang leader in 1971’s “A Clockwork Orange”. Still, nearly 50 years later, McDowell is grateful for the chance to take on one of Hollywood’s most recognizable bad boys. 
“… I have to say I’m more than thrilled that I did it all those years ago with a great director who was an amazing co-conspirator if you like,” he explained. “It was great fun working with [director] Stanley [Kubrick], and I really loved him. We produced an incredible piece of work that’s there for all time… It defines my career... which is fine! And listen, I’m very happy to have an iconic movie. It’s a great piece of work. And I’m very proud of it. And it opened many doors for me.” 
While McDowell considered Kubrick to be a wonderful collaborator, their friendship would ultimately dissolve. McDowell wouldn't give specific details on what caused the relationship to crumble, but he admitted they never stayed in touch after an incident tore them apart. Kubrick died in 1999 at age 70. 
“We fell out and I think this is something I regret,” admitted McDowell. “My pride prevented me from picking up the phone and just saying, ‘Hi Stan, how are you doing?’ It was silly, really… I was really pissed with him, I thought what he did to me was really an injustice… I felt very injured by him and I was really annoyed for many, many years. But you know what? I made a mistake… And I had my wife begging me to call him, but I went, ‘Nope, he can call me! Why can’t he call? Why should it always be me?’ But you know, that’s so stupid. That kind of pig-headed… I admit it. I was wrong.” 
When Kubrick died in his home in England, McDowell didn’t know how to cope with the news. 
“The family then reached out,” he said. “And I was very glad to go see them. 
“Christiane, his widow, took me to where he’s buried in the back garden basically. And I burst into tears. And I realized, it all came out. The thing that I buried and stuffed inside me. And I realized what an idiot I’ve been… Unfortunately, I can’t change it now, but at least I realized how stupid I was.”

AV Club discusses Ridley Scott discussing Bladerunner's debt(s) to Stanley Kubrick, in specific re: the "eye shine" exhibited by Replicants, and in a major casting decision... but it's all in the WiReD video, above, so you don't really need to click through to learn more.


The winner of the 2017 Stanley Kubrick Britannia Award was... Matt Damon. Now, I've got nothing against Matt Damon. I think he's a pretty good actor and I'm sure he's nice, as far as big time Hollywood actors go. But, well, the award is supposed to be given to individuals “upon whose work is stamped the indelible mark of authorship and commitment, and who has lifted the craft to new heights.” Is Matt Damon really the individual who best represents these qualities in 2017? Oh well... considering the fact that past recipients include Robert Downey Jr., George Clooney, Warren Beatty, Tom Cruise, and Tom Hanks... maybe being a nice, handsome guy with the right political opinions and whose filmic output is occasionally slightly thought-provoking and rarely if ever prurient garbage is all it takes.

This, however, brings up a potential avenue for speculation. If YOU had to nominate someone for a Kubrick-related award, who would it be, and why? Answers in the comments section, please!


Thanks to 'The Stanley Kubrick Appreciation Society', we all now get to see the video of a talk given in 2001 at the University of Oklahoma Department of Film and Video Studies by Joseph Turkel, one of the few actors to have scored a Stanley Kubrick Hat Trick, having appeared in a bit part in The Killing, a co-starring role in Paths of Glory, and a pivotal part in The Shining

On Youtube, it's been chopped into five pieces, but some kind soul has combined all the parts into a single video and made it available as a single video on the superior platform, Vimeo. Watch it there, or see it here, embedded, below...



An October New Statesman article about FilmWorker, the documentary exploring the intriguing life and times of former actor-turned-Stanley Kubrick's long-time right-hand man, Leon Vitali, begins:
In the early 1970s, Leon Vitali’s face, cherubic but with a hint of insolence, was forever popping up on British TV series like The Fenn Street Gang and Crown Court. Then he fell into Stanley Kubrick’s orbit and everything changed. Not his prospects or his level of celebrity or his skillset (though they changed too) but his entire existence — his purpose in life. 
Kubrick cast Vitali in his 1975 masterpiece Barry Lyndon as Lord Bullingdon, the justifiably enraged stepson of the 18th century cad and chancer played by Ryan O’Neal. Though Vitali was 26 when he played the role, he looks in many scenes like an overgrown child: plump-lipped and babyish. His performance is explosive and thrilling. Once shooting was finished, the actor told Kubrick he wanted to get more involved behind the scenes. Be careful what you wish for and all that.
I have yet to see the documentary myself, but I have long been intrigued by the idea that Kubrick had people in his life that, in a very real and important sense, helped him to be the best, most complete and uncompromising artist that he could be. As the New Statesman review makes clear in this review, Vitali was clearly one of those people, and his contribution to Kubrick's oeuvre--casting Danny both and the Grady twins in The Shining, for example--is vast and, quite possibly, unquantifiable.

More reviews can be found at The Film Stage website, The Daily Beast, and Variety. There doesn't appear to be a trailer yet, but here's a video of Leon and the film's director, Tony Zierra, on the red carpet at the AFI Film Festival:


A bunch of websites, including Fan Sided, Vulture, and Slant Magazine, have drawn some parallels between David Lynch's magnificent, triumphant return to the universe of Twin Peaks, and some of the themes and tactics employed by our man Stanley in service to his oeuvre. Most of these comparisons, of  course, are due to (and stem from) the incredible, rule-breaking 8th episode, otherwise known as "Trinity" or "the Bomb episode".

In Vulture, they Matt Zoller Seitz points out the use of Penderecki’s “Threnody for the Victims of Hiroshima,”... “unorthodox, largely symbol-based score” that “sometimes directs the musicians to play at various unspecific points in their range or to concentrate on certain textural effects.” (Rather like Twin Peaks itself.) Bits of Penderecki’s piece have been used in other genre works with a strong horror component, notably Children of Men, The People Under the Stairs, and The Shining
That last film is notable because of the Stanley Kubrick connection. The section following the bomb blast is structured as an homage to the “Stargate” sequence that ends Kubrick’s 1968 classic 2001: A Space Odyssey. That work and this one are both so clearly concerned with ideas of evolution (and the role of weapons in furthering evolution) that it’s safe to say that Lynch is leaning into the comparison. Confidently, too. 
It is the highest praise to say that, of all the filmmakers who’ve referenced the final section of 2001, Lynch seems to me the only one to have created something that equals it even as it humbly bows to its example. The post-bomb sequence takes us through what appears to be a series of tunnels, some comprised of nuclear hellfire but others of a more tantalizingly organic texture (as if to literalize the idea, expressed in Kubrick’s tunnels of light, that humanity was “reborn” after 1945). The use of the bomb claimed hundreds of thousands of Japanese lives, and was justified retroactively as necessary to make Japan surrender, but even in the immediate aftermath of Hiroshima and Nagasaki, historians, tacticians, philosophers, and pundits questioned whether any strategic objective could justify unleashing a genocidal monstrosity of science, the likes of which not even the prophet Mary Shelley could have imagined.
Very well put, indeed. The other articles are worth checking out, too.


In this wide-ranging interview with the website Little White Lies, eclectic director John Boorman briefly touches on his friendship with Stanley Kubrick:
Didn’t Kubrick want to use Bill McKinney [who plays the rapist in Boorman's Deliverance] for a film at one point, but was too afraid to meet him?
Stanley called me to ask what he was like. I told him he was a marvellous guy, a tree surgeon when he’s not acting and a wonderful man, really into his meditation. Kubrick said it was the most terrifying scene ever put on film, and that surely he’s got to have that part in him somewhere to be able to play that character. I said of course not, he’s just a marvellous actor. So Stanley cast him in Full Metal Jacket. When Bill was at Los Angeles airport he was called over the tannoy. Kubrick didn’t want him to come, he’d recast the part because he couldn’t face him. 
Were you and Kubrick close? 
Yeah, we spoke on the phone for years. We were both working at Warners. His method of communication was flat-out interrogation, he would just ask a series of questions, constantly on the look-out for information. He never wanted to go anywhere. I remember coming back from doing The Heretic and we went out for dinner. I’d told him that I’d meet him at the restaurant so asked him where he wanted to go. ‘I’ll let you know’ he said, ‘I’ll pick you up’. He was worried I might tell someone else which restaurant we were going to. It was all pretty paranoid. So he picks me up in his new Mercedes but before we go anywhere he says, ‘Watch this,’ and he activates the central locking. It was something every car had fitted as standard by that point but he was very impressed with it. For someone who gathers all this information, there’d be little things like that of which he had no idea. He didn’t know about ordinary life really. He was so cut off.
Read the rest of the interview at Little White Lies. Having personally watched Exorcist 2: The Heretic for the first time recently, I had a real need to try and understand what the fuck is going on in this guy's brain. That movie is balls-out insane.

Friday, January 12, 2018


An entertaining and profane revelation about Keitel's time working on Eyes Wide Shut, as delivered by Gary Oldman during an interview conducted by racist gun nut Anthony Cumia and his wormy pervert sidekick Jim Norton.

Friday, November 17, 2017


To find out more about exactly what the Hell is going on in this Kubrickean dystopic nightmare of an advertisement (for the very real Halo Top brand of low cal ice cream), check out this CNET article.


Bloody Disgusting reports on a new line of vinyl collectibles being put out by Funko featuring four figurines based on characters from The Shining. My favorite? Frozen Jack! Find out more at the link!


This summer, in advance of a concert given in Ottawa featuring some of the most iconic pieces of music used in Kubrick's films, the Ottawa Citizen newspaper interviewed our ubiquitous friend and Kubrick estate spokesman Jan Harlan, and even though the concert is long done with, the interview is well worth revisiting. It begins:
Q: What was Stanley Kubrick’s taste in music like? What enthusiasm did he have for music outside of the role that it played in his films?
A: As a young man he was a drummer in a band. He certainly knew how to distinguish — music as a possible pillar to support the structure of a film is one thing, music for pure enjoyment is another. Two great works he loved very much were never considered for one of his films: The Brahms Requiem and the Schubert Quintet in C.

If that's the kind of behind the scenes Kubrickeana that you just can't get enough of, then by all means keep on reading.

In this article about the BBC's 100 Best Comedies of All Time (in which Kubrick's Strangelove comes in 2nd after Wilder's Some Like It Hot), Toronto Star movie critic Peter Howell discusses the ways in which movie critics frequently (and unfairly, in his opinion) get a bad rap when it comes to their capacity to appreciate comedy. It's worth checking out for Howell's brief insights into the nature of the laughs generated by Kubrick's jet black satire.


The title of this Gizmodo article says it all: These Original Artworks From the Making of 2001: A Space Odyssey Are Spectacular.

With the successful release in recent months of IT in theaters and Gerald's Game on Netflix, certain media have taken to discussing what it takes to make a truly great cinematic adaptation of Stephen King's writing, with Kubrick's The Shining frequently popping up as an example of said greatness (and, occasionally, as a failure, but that's mostly from King himself). Scott Tobias' piece for the Hamilton Spectator, titled The Secrets to Making a Great Stephen King Adaptation is a pretty good example of the genre.

So apparently someone made an incredibly cool game not-so-loosely based on Kubrick's 2001: A Space Odyssey, and apparently, according to this stellar review at least, it's fucking amazing. It's called 2000:1 (Two Thousand to One): A Space Felony, or: How I Came to Value My Life and MURDER Mercilessly. Can you beat that for a Kubrickean title!? Nope. You can't. Check out this video preview, then visit the links above for more information about gameplay, etc. This thing looks good enough to drag me back into gaming, which is something I haven't indulged in for almost a decade now.

Those of you who are fascinated by Kubrick's early work as a "boy wonder" photographer for LOOK Magazine are definitely going to want to check out Philippe D. Mather’s recent book Stanley Kubrick at LOOK Magazine: Authorship and Genre in Photojournalism and Film. It features recently uncovered images from 1946, when Kubrick was only 16, which portray his beloved New York as a paradoxical place of beauty and ugliness, darkness and light.

Were you aware that, in 2001: A Space Odyssey, during the scene where Dave Bowman and the HAL 9000 computer play a friendly game of chess... HAL appears to cheat? Of course, if you're reading this blog, it's more than likely that you ARE aware of this fact. Furthermore, it's probably more than likely that you're also aware of the myriad theories as to why Kubrick included this little tidbit in his film. Just in case you're not already fully aware of the speculation surrounding this brief moment in 2001, lays it all out for you. They also provide a link to this delightful, new-to-me New York Review of Books article by Jeremy Bernstein--the guy who produced one of the best Kubrick interviews ever, and was smart enough to record it and KEEP his recording--about precisely how clever Kubrick could get when it came to chess.


And, finally for this edition of KNIB, we say goodbye to character actor Barry Dennen, who played Bill Watson in Kubrick's version of The Shining, but who will most likely be better remembered for his passionate and iconic portrayal of Pontius Pilate, both on Broadway and in the film version of Jesus Christ Superstar. He was 79 years old.

Saturday, September 30, 2017


Full Metal Jacket turned 30 years old this summer. Commemorate the milestone by reading this excellent Birth/Movies/Death retrospective by Jacob Knight. And dig that crazy artwork, man!

Once you're done checking out the above article, you should also give this awesome audio retrospective on the Task&Purpose podcast a listen. Entitled "To the Everlasting Glory of Full Metal Jacket", this podcast is created by, and geared towards, veterans and currently serving members of the American military, which makes for a great perspective on this cinematic masterpiece.

And finally re: FMJ, check out this Collider article in which Matthew Modine discusses two major scenes that were cut from the final version of the film, and this CinemaBlend article about a scene inspired by R.Lee Ermey's dirty poetry. Combine all of this with a fresh viewing of the flick, and you will have properly celebrated the 30th anniversary of Kubrick's most underrated flick, the immortal Full Metal Jacket.

Here's a funny little thing to watch...


In this Movie Pilot overview, Eric Hanson explores Kubrick's oeuvre in terms of his accomplishments as a translator of literature into cinema, and the various conflicts and controversies that have arisen from his relationships with many of the authors whose work he has adapted. This piece is, unfortunately, short and insubstantial. Hanson doesn't even address the extremely interesting history of Kubrick's relationships with Calder Willingham, Jim Thompson, Vladimir Nabokov, or Gustav Hasford! So please don't mistake me linking to this article as giving it my seal of approval. I do NOT. However, it does point future article writers towards what I believe could be a very intriguing topic for exploration. Who knows? I might just write such an article myself for this blog.

This little video tells the viewer how to use (and get away with breaking) the 180 degrees rule.

You know, when it comes to oddball ways directors have scraped together money for their projects, Kubrick hustling chess games to scam unwitting potzers out of their pocket change barely even qualifies, especially when compared with what Robert Rodriguez did to finance his films. But hey, it's Kubrick, so I suppose he makes the above-linked list based the quality of his oeuvre and the pull that the authors suspected including him would have on movie geeks, in terms of getting eyeballs directed towards their article. I guess their scam worked, seeing as they got my attention.


During the course of researching and writing his book Reconstructing Strangelove, Inside Stanley Kubrick's Nightmare Comedy, author Mick Broderick uncovered a long hidden plan by Kubrick to relocate his entire family to Australia if ever it became obvious that a nuclear war was about to start... as well as the hilarious reason why Kubrick eventually gave up on his plans:
The American director had set up accounts, transferred funds, organised visas and investigated film projects in anticipation of his move. 
However, he cancelled when he discovered he would have to share a bathroom on the ship that would take him to Australia. 
“Famous for not flying, Stanley had bought tickets for the ocean liner. But when he found out he would have to share a bathroom the trip was off,” says Broderick. 
“The idea of spending months at sea sharing toilet space with complete strangers was intolerable; he would much rather face thermonuclear war.”
You know what, folks? If you don't think this qualifies as classic, Strangelove-level comedy in a Kubrick vein all on its own, I don't know what to tell you.


Speaking of interesting books, Robert Koller's The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema explores the obsessions of Hitchcock, Kubrick, and Welles, based on the ways in which they expanded the use of sound in cinema. Based on this lengthy, academically rigorous review, it looks very much worth checking out.

Apparently, people are saying The Weekend's latest video, for a song called "Secrets", was influenced or inspired by Kubrick in some way. I'm not so sure about that, but you can be the judge. Here's the vid:

Illustrator Brian Sanders offers a rare glimpse into Stanley Kubrick's creative process. Here's an example of the kind of illustrations you'll find at this link.


An intriguing short-ish (43 minutes) documentary on the return to British theaters of Kubrick's Clockwork Orange, which the filmmaker had long withdrawn from the UK market for a variety of reasons. This one was new to me, even though it's from 2000. Well done!


When I first heard about Derek Taylor Kent's novel, Kubrick's Game, I have to admit to feeling a complicated mixture of curiosity, interest, and profound self-loathing. The curiosity and interest had obvious causes... I'm a life-long and devoted Kubrick fanatic, in love with most of his movies and fascinated by the minutia of his life's story (as chronicled in my early blog posts, Confessions of a Kubrick Nut, Parts One, Part Two, and Part Three in 3D). But whence this negativity? 

Most likely, it probably stemmed from the fact that I've long wanted to try writing a "Kubrick novel" of my own, and I've been too damn lazy and/or procrastination-bound to work up the gumption to actually DO IT, goddamn it. 

Anyway, I've recently heard good things about Kent's book, so I went ahead and ordered it. I'll write a review and publish it here as soon as I've read it, but in the meantime, enjoy this recent interview with Kent, published at 

Here are the interview's pre-amble, followed by the first question and (surprising to me!) answer:

Sometimes a book hits all your interests all at once, and there's really nothing else quite like it out there. The key to Kubrick's Game is that it is filled with startling plot twists, and almost every chapter ends with a 'cliffhanger,' so you have to keep reading to see what will happen next. On the whole, the story is compelling and interesting, despite my workman-like appreciation for Kubrick’s films. It reads like a high-end Da Vinci Code (better yet, think a cinephiles Ready Player One) but is built with both greater complexity and subtlety. Twist after twist, revelation after revelation, the plot becomes a tangled net of intrigue as the characters race toward a showdown where truths and identities are shockingly uncovered. A must read for any Kubrick fan. 
BSR: Do you believe in any conspiracy theories? 
KENT: In terms of Stanley Kubrick conspiracy theories, I believe the theory that holds the most weight is that he had something to do with the Apollo 11 moon landing or at least that something was fishy about it. I wouldn't go as far as to say the whole thing was faked, but as is detailed in the book, let's just say I would not be surprised if what the world saw on television wasn't what actually happened,

Thursday, August 31, 2017


Richard Anderson, who portrayed the obsequious prosecutor Major Saint-Auban in Stanley Kubrick's 1958 anti-war masterpiece Paths of Glory, has passed away at the age of 91. Anderson enjoyed steady work throughout the years before achieving the heights of popularity as fan favorite character Oscar Goldman in two hugely successful mid-70's science-fiction TV series, The Six Million Dollar Man and The Bionic Woman.

In an interview American Legends conducted with Anderson specifically to discuss Kubrick and Paths of Glory, we learn:
American Legends: Showing the execution of soldiers ran contrary to Hollywood's standard approach to filmmaking.
Richard Anderson: Max Youngstein insisted that the three soldiers not die at the end. He said, "If those guys die, who will go see the movie?" The studio wanted them reprieved at the last minute. In Munich, Stanley sent Youngstein the final script without making the changes Max wanted. He registered the script to show it had been sent--and held his breath. They prayed Max wouldn't call and say that the deal is off. No one at United Artists read the script. When Max was shown a cut of the picture, he turned to Stanley and said: "You were right."

Wednesday, August 23, 2017


Did you ever wonder what The Shining would have been like if it had been directed by Sam Raimi instead of Kubrick? Well now, thanks to the magic of the Interwebs, you need ponder no longer! Enjoy!

Here's a beautiful collection of images that inspired Stanley Kubrick's vision for The Shining, as assembled by Candice Drouet.


Here's a little bit of dance fluff in that weird art installation thing where they re-created the Human Zoo Room from 2001: A Space Odyssey.

And finally, is Chicago weirdo rapper Danny Brown's latest really "like Kubrick with two bricks"? I'm going to let YOU be the judge of that. Watch his strange new offering, below.