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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

It probably escaped your notice, but a new Brian De Palma film was released the other day. That's right: a fresh cut from the director of Carrie, Scarface and The Untouchables just bypassed UK cinemas entirely, immediately becoming just one more pathetic tear in the ocean of home entertainment. It's a sad state of affairs when the new movie from the director who launched the Mission: Impossible

Stanley Kubrick didn't have much time for heroes. You can probably count the number of traditionally heroic characters in his films on the fingers of one hand, and still have two fingers left to stick up to the world. Davey Gordon in Killer's Kiss goes out of his way to save his neighbour from a B-movie crime lord, Paths Of Glory's Colonel Dax moves heaven and earth to bring some semblance of

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

***CONTAINS SPOILERS FOR AVENGERS: ENDGAME, OBVIOUSLY*** True believers rejoice: we are currently living in a golden age of Spider-Man. Sam Raimi's Spider-Man 2 may have achieved the status of best superhero film ever in a recent highly-respected and influential poll, but that film was something of a one-off. We now find ourselves in the privileged position of being gifted five great films

I can't imagine how much time, effort and money went into securing the rights to The Beatles' music for its use in Danny Boyle's Yesterday. I'm picturing Paul McCartney sitting on a solid gold throne, perched on a balcony made of the purest crystal, jutting out from a mansion constructed entirely from £50 notes stuck together with glue made from the boiled remains of history's finest

Unbelievably (despite time being a constant), it's one-tenth of a century today since this ridiculous excuse for a website winked into existence. 1,168 blog posts later, somebody at The Incredible Suit HQ thought it would be a good idea to celebrate by collating the entire team's 100 favourite films and ranking them for you to ignore at your leisure. So we took all the votes, assigned points,

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

With the grand folly of Spartacus mercifully over, Stanley Kubrick turned his back on epic melodrama and sweaty blokes in their underpants. For his next project all the conflict would be internalised in the tortured soul of just one sweaty bloke, and this time it would be a fourteen-year-old girl in the skimpies. Undeterred by the possibility that a quinquagenarian lusting after a teenager

Godzilla: King Of The Monsters is a fucking disgrace. It is boring, messy and galactically stupid. It is not so much written as shat, and less directed than allowed to splatter onto the screen with all the nuance, skill and visual flair of a bucket of sick dropped from a great height. It is the worst film I've seen for at least three years. With a budget of around $200 million, it is a

Longer, wider and more colourful than anything Stanley Kubrick had done up to this point, Spartacus saw The Kube go EPIC. 198 minutes long! A four-minute rousing Alex North overture! A Saul Bass title sequence! An intermission and entr'acte, whatever that is! A $12 million budget! Super 70mm 2.2:1 Technirama! Between 10,000 and 50,000 extras depending on who you ask! If bigger means better,

Kids today don't know how lucky they are, what with the internet having been there since before they were born, social and political equality becoming ever closer to a reality, and not having to worry about destroying the environment because we've already done that. As if all that wasn't enough, they've now got their own defining teen movie: one they'll watch a thousand times in secret before

Act I of Stanley Kubrick's career is complete: over the course of three shorts and three features we've seen him grow from pretentious faux-intellectual with a keen eye into an accomplished storyteller with an even keener eye. It hasn't always been easy viewing (I refer you, once again, to The Seafarers), but the upward trajectory in quality has at least formed the kind of narrative arc every

I realise I'm only 26.66 recurring percent through my game-changing overview of the films of Stanley Kubrick, but I thought it was time for an intermission so you could either go for a poo or read some waffle about the Design Museum's Stanley Kubrick exhibition. You could always do both I suppose, the toilet is the ideal reading location for this blog. Anyway last week I was at the press

April 14th, 2010. Who among us can forget that day? The day that one man, with unshakeable self confidence and almost supernatural foresight, logged on to Twitter and announced the following to his couple of dozen followers: While The Avengers is an admirable idea, I guarantee that IT WILL NOT HAPPEN. So you can stop all this Ooh Joss Whedon nonsense now. — Neil Alcock (@IncredibleSuit) April

You'll have to forgive me but I'm having one of my Britpop moments. This happens every now and again: the doctor says it's fine and is just a symptom of a) having been at university between 1994 and 1997, and b) subsequently becoming a victim of the nostalgia culture that has characterised the early part of the 21st century. Like many of my peers I have point blank refused to let go of

Hallelujah and thank fuck for that you guys, Stanley Kubrick has finally made a great film and we can stop kidding ourselves that everything before now had any artistic merit just because it has his name on it! Seriously, go back to The Seafarers, there is A LOT of analytical stretching going on to justify putting yourself through that. Predictably, it turns out that all The Brick needed to

It's been an underwhelming start for a so-called visionary genius, but in the hope of digging up something watchable I hereby present the third instalment of my shallow dive into the career of tonsorially unconcerned director Stanley Kubrick. Under the Fisher Price microscope this time is Kubo's second feature film, Killer's Kiss. Is he any good yet? Let's find out! (short answer: almost)