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A couple undergo a procedure to erase each other from their memories when their relationship turns sour, but it is only through the process of loss that they discover what they had to begin with.
Lester Burnham, a depressed suburban father in a mid-life crisis, decides to turn his hectic life around after becoming infatuated with his daughter's attractive friend.
In future Britain, charismatic delinquent Alex DeLarge is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
Director:
Stanley Kubrick
Stars:
Malcolm McDowell,
Patrick Magee,
Michael Bates
Unscrupulous boxing promoters, violent bookmakers, a Russian gangster, incompetent amateur robbers, and supposedly Jewish jewelers fight to track down a priceless stolen diamond.
Drugs. They consume mind, body and soul. Once you're hooked, you're hooked. Four lives. Four addicts. Four failures. Despite their aspirations of greatness, they succumb to their addictions. Watching the addicts spiral out of control, we bear witness to the dirtiest, ugliest portions of the underworld addicts reside in. It is shocking and eye-opening but demands to be seen by both addicts and non-addicts alike. Written by
&view=simple&sort=alpha">Jeff Mellinger <jmell@uclink4.berkeley.edu>
The "Lux Aeterna" portion of the music composed by Clint Mansell for the Requiem for a Dream soundtrack has often been used since in many other contexts, such as trailers for other films (including The Lord of the Rings: The Two Towers, The Da Vinci Code, I am Legend, Man on Fire, Sunshine, etc.), soundtracks for video games (Total Miner: Forge, Assassin's Creed), and background music for TV programs and advertisements. It is also commonly used as promotional and/or entrance music for many different college and professional sports teams, including: the Notre Dame, Missouri State University, Boston Celtics, and Virginia Commonwealth University basketball teams; the University of Alabama and Bowdoin College football teams, and the England Rugby Union Team. See more »
Goofs
When Marion leaves Albert's apartment and runs onto the street to vomit it is raining heavily, however when she arrives back home her hair and clothes are completely dry. See more »
Quotes
Harry Goldfarb:
[Harry has just found out that Sara is on diet pills]
Does he give you pills?
Sara Goldfarb:
Of course he gives me pills. He's a doctor!
Harry Goldfarb:
What kind of pills?
Sara Goldfarb:
Oh... erm... a blue one, a purple one... and a...
Harry Goldfarb:
I mean, what's in them.
See more »
Crazy Credits
The opening credits each disappear as if being melted like heroin. See more »
I respect and admire this movie, even though (and perhaps because) it is complex, occasionally irritating and often very hard to take. Frankly, I avoided seeing it for a long time, but now am glad I did. To complain that the film fails as a realistic portrayal of addiction is, I think, to miss the point. Far from being the mere depiction of a collective downward spiral fueled by drugs, the movie is in fact a meditation on loneliness, greed, corruption, desperation, and the pervasiveness/banality of media, among many other things.
The subtleties of the text are communicated, first and foremost, by superb acting. The performances of Ellen Burstyn, Jared Leto, Jennifer Connelly, and Marlon Wayans are all revelatory. In particular, I was knocked out by Burstyn, who is almost comically pathetic in the beginning, but who manages by the end to convey her character's utter devastation in the truest, most heartbreaking manner imaginable. The others are absolutely perfect as well; I was simply astonished by Leto and especially Wayans (may he eschew "scary movies" forevermore). Connelly has perhaps the most difficult role in the film, with opportunity and motivation galore to go over the top, and she delivers not a single false note throughout.
My only real quibbles with the movie have to do with certain instances of the split-screen and jump-cut techniques, which struck me as somewhat gimmicky and repetitious, respectively. That being said, overall the style of the film is impressive and appropriate. The cinematography is beautifully conceived and executed, and the score is every bit as haunting as the performances (thanks largely to the work of the Kronos Quartet).
In sum, regardless of whether or not the subject matter itself shocks you, this movie will put the viewer through the proverbial wringer. Give it a chance, and you will connect with the characters and then witness their destruction (spiritual and otherwise). It is a punishing but unforgettable experience. I'm not sure whether I'd necessarily recommend it or not; it all depends on your personal tolerance level with regard to an unflinching portrayal of human nature and behavior at their most extreme and, ultimately, tragic. For my part, while I don't expect to watch this film very often in the future, I'm sure glad it'll be on the shelf.
217 of 270 people found this review helpful.
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I respect and admire this movie, even though (and perhaps because) it is complex, occasionally irritating and often very hard to take. Frankly, I avoided seeing it for a long time, but now am glad I did. To complain that the film fails as a realistic portrayal of addiction is, I think, to miss the point. Far from being the mere depiction of a collective downward spiral fueled by drugs, the movie is in fact a meditation on loneliness, greed, corruption, desperation, and the pervasiveness/banality of media, among many other things.
The subtleties of the text are communicated, first and foremost, by superb acting. The performances of Ellen Burstyn, Jared Leto, Jennifer Connelly, and Marlon Wayans are all revelatory. In particular, I was knocked out by Burstyn, who is almost comically pathetic in the beginning, but who manages by the end to convey her character's utter devastation in the truest, most heartbreaking manner imaginable. The others are absolutely perfect as well; I was simply astonished by Leto and especially Wayans (may he eschew "scary movies" forevermore). Connelly has perhaps the most difficult role in the film, with opportunity and motivation galore to go over the top, and she delivers not a single false note throughout.
My only real quibbles with the movie have to do with certain instances of the split-screen and jump-cut techniques, which struck me as somewhat gimmicky and repetitious, respectively. That being said, overall the style of the film is impressive and appropriate. The cinematography is beautifully conceived and executed, and the score is every bit as haunting as the performances (thanks largely to the work of the Kronos Quartet).
In sum, regardless of whether or not the subject matter itself shocks you, this movie will put the viewer through the proverbial wringer. Give it a chance, and you will connect with the characters and then witness their destruction (spiritual and otherwise). It is a punishing but unforgettable experience. I'm not sure whether I'd necessarily recommend it or not; it all depends on your personal tolerance level with regard to an unflinching portrayal of human nature and behavior at their most extreme and, ultimately, tragic. For my part, while I don't expect to watch this film very often in the future, I'm sure glad it'll be on the shelf.