Kubrick's liberal, anti-authoritarian reading of Anthony Burgess's very Catholic allegorical novel is morally confused but tremendously powerful... No serious moviegoer can afford to ignore it.
A much-maligned and misunderstood classic, this is one of Kubrick's finest movies.
Ethical screed aside, what does A Clockwork Orange have to offer beyond its curiosity value and a crash course in humanism? Well, for a start there's Kubrick's dazzling visual style which, rather in the manner that Trainspotting did 25 years later, translates the substance of an "unfilmable" book into the language of cinema. And at the dramatic core of the film is a simply astonishing performance by Malcolm MacDowell as Alex. It also features an orgy sequence that would have had Von Stroheim laughing his jackboots off — you'll certainly never listen to the William Tell Overture in quite the same way again. And as for Singin' In The Rain...
It demands thought, compels the attention, and refuses to be dismissed. And, for that reason, A Clockwork Orange must be considered a landmark of modern cinema.
If you watch Clockwork Orange and see that this is the game Kubrick is playing with us, giving us an avenue into understanding a corrosion of society, the film may be appreciated as his finest masterwork in a career full of them. Certainly, it’s his most human film, right next to Lolita in its refusal to judge its central character’s sickness.
It seems to me that by describing horror with such elegance and beauty, Kubrick has created a very disorienting but human comedy, not warm and lovable, but a terrible sum- up of where the world is at... Because it refuses to use the emotions conventionally, demanding instead that we keep a constant, intellectual grip on things, it's a most unusual--and disorienting--movie experience.
A chilling classic, the movie is a scabrous satire about human deviance, brutality, and social conditioning that has remained a visible part of the ongoing public debate about violence and the movies.
It is not a film the memory of which you will exactly wish to cherish. You may even, like me, reject the glib and icy pessimism of its message. But you will, I can assure you, find it difficult to put out of mind.
The confounding thing, and perhaps the ultimate irony of Stanley Kubrick's A Clockwork Orange, is that Alex is surprisingly but undeniably engaging.
Gary Busey, Robbie Robertson, and Jodi Foster star in a romantic triangle about some carnival sharpies and a runaway girl. A beautiful portrait of the carnival as an American institution. [18 July 1980, p.8]
补标，女性角色过于边缘化了，另外个人不会给任何有女性遭遇性暴力镜头的电影打三星以上，无法像热评的男性一样从中得到施虐的快感，同为女性我看着只觉得难受和恶心
善恶之上还有一双自由的眼睛/减一星是因为过度不必要的厌女镜头
为什么电影里总是女性在裸露？已经不是A片也不是情色主导的电影，为什么永远是女性在裸露？Alex反社会的两大根源暴力和性，为什么不能露男性的性武器？为什么不能细细描绘和展现男性引以为傲的下体？男性观众无所谓的，认为这是电影艺术或者他们压根也没看懂，古典音乐配着强暴画面他们就觉得高级，反正就是要女人露。Alex最后那句I am cured才是真的反社会倾向出逃又回来，待在暴力和性里他才是健康的。那观众呢？如果视这一切为玩笑，只是反社会罪犯洒洒水的操作，难道不恐怖吗？
人性究竟是本恶还是本善，没有标准的答案。 一个人究竟是善好，还是恶好，还是既善又恶最好？ 人性的常识系统，人性的自由意识，是作为一个具有活着的人最重要的东西。如果没有了自由，没有了常识，这个世界的人类会变成什么样？
在感官层面上，我只知道自己第一次，从一部电影里，享受到了施暴的快感。没有理由，没有结果，没有思考，没有其他。
我愿意这么看这部片：前半部分看到男主角无恶不作观众恨死他了，后半部分看到他陷入无助受到非人道治疗，还没来得及感到大快人心就立刻又倒向了无限同情男主批判社会情绪中了，墙头草一样。观众就是在这样的观影情绪中被导演狠狠的抽了脸。
成功预言了杨永信的电击疗法。
对于他的电影我一直都抱着没水平写影评就闭嘴的态度
暴力慢镜，性爱快镜，一个本我的坠毁。只有笨蛋才会去思考，聪明的人用的是灵感和上帝的旨意。这两个多小时完全是库神对时代性体制永无止境的诘问，个人选择如果被抑制，是否善恶的边界已经被抹去。
最欢乐的乐章VS最邪恶的人性 虽是大师之作但3星不推荐 因为观影中确实感到不舒服
再次证明了这是一个神经病的世界；行为矫正是没有前途的；意志与生理从来都是不同步的
其实也说不出哪好 但早期作为一个伪文青我还是给了5星
没办法。。。谁让咱假装是文艺青年呢。。。很喜欢
影片通过一个漫长而完满的暴力实验揭示了这样一个道理：人们对待暴力与对待行为准则的态度不经意间便自相矛盾，既反对暴力又以暴制暴，西方社会一直追寻的人性在影片中却不复存在，这使影片给人一种飘渺洪荒的感觉，而对社会政治的深刻嘲讽以及人的生活信念的崩溃与迷茫也表达着一种深切的探索精神~
我觉得惊讶的是传说中的经典居然真的让我觉得很经典
看的差点儿吐了~~~
经典的3p节奏..漂亮干净的画面
库布里克真混蛋，但也真天才。
如果人甚至没有选择邪恶的权利，那还是人吗？
“我完全康复了”
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