There is I think definitely an element of self obsession to a lot of "kook" cinema, why I prefer stuff like Her or Eternal Sunshine that actually looks to challenge the typical "wistful creative middle class protagonist" a little more rather than just letting him exist in his own little bubble of kookiness.
Memento is the only crack in that armor I would argue
I think referring to his films as a "book report" is very clearly being critical of the importance of his work as a director.
Honestly Kubrick seems a strange target for this kind of criticism to me, directors working with existing material and other writers makes up a pretty high percentage of cinema and Kubrick is not someone who's reputation is strongly based on the overall narrative or indeed the dialog of his films, its always been focused mostly on his direction.
Someone like Scorsese would seem like a more obvious target to me, not that I'd go along with it even then but I do think more of the praise for his work is linked to the writing and he wasn't making films that were as well known to be based on the another persons writing as Kubrick with 2001, Clockwork Orange and The Shinning all being widely known novels.
Wes Anderson movies - movies with a bunch of unrealistic characters with no real plot. Made for people who like to wrongly self-diagnose themselves, and over analyze other people, and do nothing productive with their lives, just like the characters in the movies.
Do you not see how it becomes difficult to credit Kubrick with aspects of the story when those plot elements are lifted from someone else's work?
Do you not see though that the praise of Kubrick does not take this form the vast majority of the time? I mean he does have some writing credits and people praise some choices in adaptation but his reputation obviously rests on the way his films look/sound and the performances within them rather than any writing.
That many of them are adapting famous novels as well surely makes it unlikely people will give him sole credit for writing them?
If I was looking to throw this kind of criticism around Kubrick would be exactly the last director I'd pick out who worked with other peoples writing.
Do you not see though that the praise of Kubrick does not take this form the vast majority of the time?
because it's extremely worth noting that young Kubrick students believe he:
1. Invented Dystopian youth narratives culminating in Institutionalization (Clockwork Orange)
2. Invented Dystopian space narratives culminating in machines rejecting their masters (2001: A Space Odyssey)
3. Invented Dystopian war narratives with a dark sense of humor culminating in mental and emotional breaks (Full Metal Jacket)
none of which come anywhere close to the history of storytelling, something which has very real, very accessible origin points in the history of film and especially international cinema
Hell, some kids that never took one hard look at the history of the horror genre in their life try claiming Kubrick invented "haunted burial ground" horror with The Shining
even in cinematography "firsts" Clockwork Orange wasn't the first film to rape someone in long-take or forward-track a car, no matter what his creepy gross fanboys might try telling you
As someone who full-blown despised The Royal Tenenbaums, Life Aquatic and Bottle Rocket, I would argue Moonrise Kingdom is one of the best films about Boy Scouts ever made
That movie felt "unrealistic" to you? Everything about it (maybe ignore the weird lightning strike) seemed extremely resonant with coming-of-age material in a way that wasn't forced or inorganic to me, I really think that film stands out from his other work...
I actually did not see that one, as I had grown accustomed to not liking his films. I actually watched Grand Budapest Hotel, which came out after, and did not like it. I assumed one of his movies, especially about boy scouts was going to be cringe worthy lol.
I'll check it out tho and see if I can make it through.