In his book, Abject Terrors: Surveying the Modern and Postmodern Horror Film, Tony Magistrale talks about Stanley Kubrick's deep and abiding obsession with the color red. He writes 2001: A Space Odyssey "commences Kubrick's directorial fascination with vivid color, particularly the color red, that becomes the defining trait of the auteur's subsequent cinema... [T]he particular use of red as the keynote color in Kubrick's cinematic palette speaks directly to cinematic meaning: The color red underscores varying levels of physical and psychological violence present in Clockwork, The Shining and Barry Lyndon; forces the viewer to make a connection between HAL and demonic energies in 2001; and is associated with the carnal sexuality that is present in nearly every sequence of Eyes Wide Shut." But it's one thing to read about this obsession, and another thing to see it. Above we have Rishi Kaneria's "Red: A Stanley Kubrick Supercut," which artfully weaves together footage from Spartacus, 2001, A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket and Eyes Wide Shut. Now you'll see what Magistrale means.