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Science Fiction, Crime 137 min NC-17
Rotten Tomatoes86%Metacritic77IMDb
Being the adventures of a young man whose principal interests are rape, ultra-violence and Beethoven.
In a near-future Britain, young Alexander DeLarge and his pals get their kicks beating and raping anyone they please. When not destroying the lives of others, Alex swoons to the music of Beethoven. The state, eager to crack down on juvenile crime, gives an incarcerated Alex the option to undergo an invasive procedure that'll rob him of all personal agency. In a time when conscience is a commodity, can Alex change his tune?
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Bleak, meticulous, prestige and overwhelming.
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Written by TMDB members; each links to the original. Not part of Taste Buds's numbers.
This is a truly challenging film that routinely glorifies violence - especially towards women, and offers us a terrifying appraisal of the effects of unfettered government and science working in cahoots with each other. Fifty years on from it's groundbreaking release, it's great to watch this on a big screen again - and though the imagery is much less potent that it was in 1971, the performance from Malcolm McDowell is scarily compelling. The plot centres around him and his three sadistic cohorts who live a disparate life terrorising wherever they roam until finally they go a little too far and he is apprehended. A fourteen year sentence is handed down but after two of them, he seeks enrolment in a controversial, experimental, aversion therapy scheme the results of which don't quite deliver as expected. The film presents us with some some pretty gruesome worst-case scenarios to start with, those serve to exaggerate the threat to normal livelihoods and thus lend credibility to the even more daunting prospect of the clinical conditioning of people. In this case, it is specifically the conditioning of one violent individual, but it's very easy to extend the principle to those with who
Read the whole review on TMDBAs time goes by, I'll always appreciate my Grade 10 English class (1984-85), taught by Mr. Terry. Looking back, it's probably the year that I was introduced to the most great literary works of all my life (especially 'Anthem' by Ayn Rand and 'Nausea' by Jean-Paul Sartre). Included that year in the course's curriculum was Anthony Burgess' dystopian masterwork, 'A Clockwork Orange' (as well as George Orwell's 'Animal Farm'--like Frank Sinatra would have said, 'It was a very good year'). I was mesmerized with it from the instant I noticed the unique approach to language, the 'ultraviolence' and of course, the eternal question of free will, its relationship to good-and-evil, and the can of worms of the myriad of ethical dilemmas that comes to the fore of individual freedom and rights versus that of society at large. The genius of Burgess was being able to put so well and forcibly, yet in such an entertaining way, so many issues that, had most anyone else set forth on the endeavor, would have come up with the type of off-putting, heavy-handed sermon that would never have reached such a literary pinnacle, and been required reading even now, generations later. It hasn't aged or dated a da
Read the whole review on TMDB*A Clockwork Orange* was garbage to me: a smug, ugly film that mistakes shock value for depth. It spends so much time glamorizing Alex’s cruelty that its supposed message about violence, free will, and state control feels muddled rather than meaningful. Yes, the movie is visually distinctive, and Malcolm McDowell is committed, but neither made the experience enjoyable. The artificial slang, cold characters, and endless stretches of stylized nastiness made it feel more exhausting than provocative. By the end, I wasn’t impressed by its boldness—I was just relieved it was over. Critiques of the film have similarly argued that its stance is ideologically confused and that it can seem more interested in its protagonist’s cruelty than in condemning it.
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Companions we picked from the closest works, and how to take them.
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120 profiled raters. Loved most by The Provocateurs; disliked most by The Empaths.
If you loved this film, the television, the book, the music, the game.
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