[Originally Published: 04/28/2008]
Stanley Kubrick knew the secret pearl of storytelling. One doesn’t bring the vague and blurry messages to the audience. A filmmaker, like a musician, painter, poet, and street corner dude on a milk crate, painted silver and doing robotic dance movements, accompanied by a battered boom box, makes the crowd come to their bit of strange art.

No doubt, if ten people were asked to list their five favorite films by the towering American expatriate who lived the bulk of his adult life in England (like another crazed Yank genius, Terry Gilliam), you’d get five completely different lists. And that’s fine. I have my own favorites, but I don’t hold them to my chest like they are minemineMINE.
Hell, if you still don’t get the god-like majesty of 2001: A Space Odyssey or marvel at how well Kubrick fooled the audience in Eyes Wide Shut, because it was, in fact, almost all a dream, and you needed to track the weird, non-linear jumps in the story to notice that the brilliant and underrated Tom Cruise was given the ultimate mind fuck to fuck with his yuppie mind while he watched…well…how to do that fine sexual task properly, then long-ass segues aside, you were missing Kubrick’s point and need to look again.
Secret societies abound, no secret there, and it is no secret that Eyes Wide Shut carried with it a legion of references to Kubrick’s other work and, in fact, the life he led with his wife when they shared a New York apartment before making their permanent home across the pond in the UK. It was his last film and the links with his other cinematic masterpieces span all the way back to this week’s Hidden Flick, The Killing—a 1950s race track heist gone wrong cobbled together by two titans of non-linear storytelling. READ ON for more of this week’s Hidden Flick…