Eyelashes and Deception

Rating: 7/10 (1 November 2003)

Science fiction stands apart from other genres because it is actually a setting and nothing else. It is a toolbox of ideas and items that storytellers borrow from to try and heighten their work. Matrix, Aliens, and Terminator are all action movies that borrow the sci-fi elements of machinery, technology, alternate realities, and souped-up firepower--that's the only thing that separates them from the Die Hard films. Even Blade Runner is just detective noir set in 2019, no different.
Only in 2001: A Space Odyssey did the full impact of unadulterated science fiction get ingrained in the public conscience because Kubrick makes the setting the star, not plot or characters. He would later try again with Barry Lyndon to lesser extent.
Compared to Sam Raimi, who isn't concerned with shot composition so long as the movement of the camera remains wild, Kubrick's parallel (or is symmetric) style is the definition of precision. He loves orchestrating his shots around the characters in ways I'm sure Brian DePalma dreams about. The focus isn't on the people, it's on the scene and mood. The fact that people are in the shot is incidental.
That said, A Clockwork Orange is a genre-less picture. The setting is not pure science fiction, but it certainly isn't anything other than drama. While not as declarative as Dr. Strangelove, it succeeds in making the science fiction point about what humanity's actions cause to our collective thoughts and psyches. In this case, our newest crop of bad boys are in for some brainwashing fun. Shallow yet insightful.
Overall, between Ludwig Van's pomp and the shaky chords of "Singin' in the Rain", Kubrick proves he is still the music man of synchronization while McDowell menaces. 4 out of 5.