Faith moans about Stanley Kubrick.

I'm pretty self-righteous on this topic, and apologize profusely to anyone who reads this because you will undoubtedly disagree with me, but I think I could have done a better job of A Clockwork Orange than Stanley Kubrick. I realise that the man is a revolutionary and uninhibitedly innovative director, and I am quite partial to much of his work (obviously The Shining was an unbeatably well-cast, written and organized film).
The Shining is a perfect example of Kubrick's tendency to make very subtle 'mistakes' that work to build a psychologically challenging character frame that he fails to build in any other conventional manner. His work is clean, faultless and calculated to such a degree that it's difficult for one to make such a bold statement as my previous one, especially one who is not trained in directing or any other form of cinematography. But, controversially, I do not believe that A Clockwork Orange is an example of his better achievements.

In the novel upon which the film is based, Anthony Burgess' use of euphamistic and, often, difficult to understand slanguage dialogue is...poetic, beautiful and artistic. His mixture of childish, unintelligent metaphor and contrastingly complicated symbolism and scenarios, proves the endearingly profound nature of each character, in particular, Alex:  his propensity for mischief and violence is so blatant and largely unrelatable and disgusting, and yet we still manage to uncover some kind of attachment to the character. Whether that's a result of Alex's tender age, or of Burgess' incredible ability to manipulate the reader through characteristic development, or  that of both factors, these are two key points overlooked by Kubrick throughout the cinematic adaptation.
I felt the casting was poor (in a regard similar to that experienced after watching Baz Luhrman's 'Romeo and Juliet', in which none of the cast appeared to understand any of their lines), thus the impact of Burgess' long-thought-out modern English slanguage is slashed dramatically.
In particular, the presentation of modern Britain in the film mirrored the expectations set forth by Kubrick's style: imaginatively clinical and clean, and underratedly simplistic. But it also portrayed a post-modern generic, stereotypical conception of modern architecture and society that rubbed uncomfortably against the dim, primal development of community and youth drawn from Burgess' masterpiece.
All in all, I'm sour and expected more because it's my favourite book and I have too much spare time.

Over and out.