As the audience, we are put in to the film through the innocents of children's eyes. Through these eyes we learn "There's a lot of ugly things in this world, son. I wish I could keep 'em all away from you. That's never possible." We also are admonished to keep the world from being ugly through understanding, "You never really understand a person until you consider things from his point of view...Until you climb inside of his skin and walk around in it".

I think To Kill a Mockingbird it is best described as effectual. Full of beautiful scenes, an understated musical score, perfect performances from the actors and a heart that evokes emotion. When making art, those works that just fit together without being contrived, bring the most satisfaction. I think this is one of those types of pieces, particularly after watching the documentary Fearful Symmetry included on the DVD. Don't miss this film it is truely GREAT.

Kubrick started in the film business making documentaries in the early 1950s, and through his success was able to make two low-budget 'B' list type films, Killer's Kiss (1955) and The Killing (1956). The later being to more interesting of the two, it's hipper and more significant. After these movies, Kubrick has his big break in Hollywood directing an 'A' list actor, Kirk Douglas, in Paths of Glory (1957) and later in Spartacus (1960).

Even though Spartacus was an Academy Award winning film and Kubrick was a success, he leaves Hollywood's constraints and makes all his future films in the UK, where he lived until he died in 1999. It's here, in the UK, where he makes his first brilliant film in 1962, Lolita.

Lolita, like almost all of Kubrick's films, is adapted from literature. What makes Lolita great is the subtle double entendre, the sexual innuendo that laces the first act. The fact it was the early sixties and there was a tighter code of standards and practices (read censorship), makes the film that much smarter, hence the subtly.

Kubrick's next film, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), is much lauded for its satire of the cold war arms race. It boasts yet another superb performance from Peter Sellers (See Lolita), as well as a memorable performance from George C. Scott. While the film is notable, like his next film, 2001: A Space Odyssey (1968), they didn't have the impact on me like his other films. 2001 was more impacting than Dr. Strange Love due to its stunning visuals, but both lacked a story that captured my imagination.

There is no denying his next film is truly great, 1971's A Clockwork Orange, full of unrestrained creativity, going so far as to invent a new language. One viewing is not enough to appreciate the art and to understand its depth. I was a child when I first saw this film, I knew it was highly acclaimed but it made no sense to me. One must be an adult to appreciate all the sensibilities of this film. If you are a fan of cinema or just someone who appreciates the film Singin' in the Rain (1952) as a "great" film (see AFI's top 100 movie of the past 100 years) you will appreciate how Kubrick can, in one scene, forever change the way you look at a movie or hum a tune. A remarkable performance from Malcolm McDowell, and a compelling commentary on society by Kubrick define its greatness.

Barry Lyndon (1975) is striking in its beauty. It's undeniable, to anybody who is willing to sit through all three hours, that this film is expertly crafted and exquisite in its details. Often referred to as the best costume drama ever, the effort and innovation afforded to capture authenticity, (see link ) is bar none. Barry Lyndon is remarkable to me for the insight it offers in a different place and time that is real. Even though the story saunters at a slow pace, and may not be of interest to many, the scenes captured on film, with only candle light, are spectacular and worthy of a viewing.

Kubrick's innovation in film didn't stop there, in The Shining (1980) he pioneered the use of the steadi-cam. By some considered to be the best horror film ever made, it is surely haunting and disturbing. Jack Nicholson gives an especially creepy performance, along with the hotel and scenery. Kubrick is fantasic bringing the haunted hotel to life in the dreary and isolated winter mountains.

Seven years later Kubrick returns with the greatest Vietnam war film ever. I was too young to experience the Vietnam War, but in the context of the Iraq war, which I'm keenly aware, Full Metal Jacket describes and comments on the war with resonance. You can simply sum it up the way the film did with a quote from LBJ, "I will not send American boys eight or ten thousand miles around the world to do a job that Asian boys oughtta be doin' for themselves.". Full Metal Jacket is one of the best written films ever, there is nugget after nugget of memorable dialog. Again on the war, the main character Joker being interviewed about his experience in the war, "I wanted to see exotic Vietnam, the jewel of Southeast Asia. I wanted to meet stimulating and interesting people of an ancient culture, and kill them. I wanted to be the first kid on my block to get a confirmed kill."

My experience has been that most people appreciate the first half of the film more so than the second half. That may have been my position in the past, before I had the experience and maturity to comprehend war. The film may have two parts, but it is one movie. The first part may be favorable, but the second part makes you think and is the better part of the film.

The genius of Full Metal Jacket is that it comments on the war and the military by just laying it out there. Unlike other war films it doesn't use gimmicks and emotional manipulation to philosophize on war and humanity. Through brilliant dialog and experience it returns to us the effort we put into it.

Sign 'o' the Times is a great film, because it is a concert film with great music and great performances. Released in the age of the music video, I think it achieves a fine balance of continuously flowing concert performance with poignant theatrical staging and segues. Every single song in this film is excellent. The title track, "Sign 'o' the Times" is as current 17 years later as it was back in 1987. How can you resist dancing as Prince teaches us a new moves with "Housequake"? Sheila E. puts this film over the edge in to greatness, her sexy drumming is irresistible. Prince always has something for everybody, he's always had diverse band members, from women to white people to black people and everyone in-between. This film has something for everybody, Prince shows us range in the fusion of Rock, Pop, Funk, Soul, Folk, Jazz, Gospel, White, Black, Puerto Rican Everybody just a-freakin'

The story goes that while Prince was touring Europe in 1987, and according to Eric Leeds, a saxophone player in the band, "We (Prince and the band) had gone to Europe and did 2 1/2 months, and the reaction was just tremendous. I looked at him (Prince) and said, 'Are you out of your mind?' He said, 'We're going to make a movie out of it instead.'".¹ So they hired a film crew out of London, shot some footage, did some post production at his studio, Paisley Park. The result is a great performance captured for posterity on film, Prince at his pinnacle just before he begins to loose his youth.