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Having spent years fruitlessly dicking around with his doomed film about Napoleon, Stanley Kubrick found himself perched atop an impressive - but frustratingly useless - mountain of research relating to 18th century Europe. Scrabbling around for a chance to utilise all this material, Stan landed upon an 1844 novel by William Makepeace Thackeray which, conveniently, would also allow him to

Dr. Strangelove had failed to successfully treat Stanley Kubrick's nuclear itch. The ointment of satire clearly wasn't strong enough to clear up Stan's rash of pessimism regarding the human race's inevitable freefall into self-destruction; stronger medication was required. Perhaps drawing on his abandoned idea of a framing device for Strangelove in which aliens passed pitiful judgement on

We're roughly half way through our nursery school-level investigation of the films of Stanley Kubrick, and it's been a bumpy ride so far. We've seen the good (The Killing, Paths Of Glory, Lolita), the bad (Fear And Desire, Spartacus, oh God The Seafarers) and the middling (Killer's Kiss), and so it seems appropriate that this time round we're faced with The Kube's most divisive film. Which is

Every generation has a legend. Every journey has a first step. Every saga has a beginning. So goes the tagline for Star Wars Episode I: The Phantom Menace, a film so bad that Stanley Kubrick literally died just a few months before its release in order to avoid watching it. Stan's first step on his own journey to becoming a legend for many generations was almost as fraught with bad decisions and