Kubrick's final masterpiece

Rating: Null/10 (31 July 2010)

Sadly this was Stanley Kubrick's final film.
Despite not directing a film for some 12 years, and taking some 2 years to shoot and complete this film. Kubrick has lost none of his skill to make a first rate film that deals with a complex human issue is a dispassionate and objective way, yet keeps the film accessible, entertaining and most importantly, staying in the mind of the viewer long after having seen it.
Kubrick's film is a study of the human condition, from the perspective of how sex is part of a relationship. It also makes a statement of how human life is viewed in the higher echelons of society, and seems to indicate it is a commodity to enjoy, and then dispose of, with little or any emotional energy being invested. Cruise gives a compelling performance with more restraint than a typical for him and watching his character put himself into temptation is interesting. However Nicole Kidman is more than a match her husband in the acting department with a very effective and charismatic performance - their initial, immature drug fuelled argument in the bedroom is very effective and her character viciously demolishes the world-view and confidence of the Tom Cruise character. While the focus of the film is on the Bill Harford, Kidman's interactions with Cruise are always charged and riveting.
As to other performances, they are all competent, albeit Rade Sherbedgia's broad performance is clearly the amusing dark comic relief in the film, which works well and is definitely needed. Actor/director Todd Field and Sky Dumont are engaging in small parts but its the late Sydney Pollack who is commanding as Victor Zielger and is charismatic and totally amoral in the main supporting role.
Technical credits, as usual for a Kubrick film are first rate. Larry Smith's photography, no doubt enhanced by Kubrick's own outstanding knowledge of lighting is excellent, especially as this was Smith's first film as a Director of Photography. He had previously worked on the lighting crews on both Barry Lyndon and The Shining. He has gone on to by the lighting cameraman on a wide variety of projects after this film. Kubrick also shows he is the master of Steadicam, ably supported by veteran operator Elizabeth Ziegler. Nigel Galts editing is also very slick and polished. Joceyln Pook's music, supplemented with pre-existing music tracks, no doubt chosen or influenced by Kubrick himself is effective in creating a dark and disturbing mood.
However, as with many Kubrick films, its the outstanding production design that is the greatest technical achievement. Led by Les Tomkins and Kubrick veteran Roy Walker they create a world that is totally convincing - after all the film's first unit shot entirely in the UK
In summary this film is an appropriate and final outstanding achievement for possibly the most technically yet sophisticated and challenging visual storyteller I have come across watching movies.