I still intend to see the new Funny Games if it's not hustled out of theaters too quickly, but in the meantime I revisited the original home invasion movie (alongside Straw Dogs).
A Clockwork Orange is a 'statement' movie, but Kubrick's cinematic argument is complex and multifaceted. He presents his scenes of violence in ways that are both cinematically exciting and entertaining, as with the movie's opening fight scene with another gang, and then the film makes a sharp turn to gives us the same characters in a brutal assault on a quiet country home. This is the fine line that Kubrick is constantly walking - we're entertained and charmed by Malcolm McDowell's Alex, but we never forget that he's a dangerous sociopath motivated by nothing beyond his own narcissism, and the thought hovers in our minds through all of Alex's ups and downs. And I think this is a key to the movie's success, because Kubrick gets us to see ourselves in Alex, thrilled and horrified alternately.
Ultimately, though, Alex is only a figure in Kubrick's landscape, because his larger point has to do with how violent individuals function within a modern society, and the nature of punitive measures vs. free will. Alex receives the Ludovico treatment, which makes him nauseated in the presence of sex or violence (and Beethoven), and his prison chaplain argues that his now-'cured' actions are not motivated by free will, but merely by simple self-interest. But this treatment is merely an exagerrated version of every punitive system, from 'scared straight' programs all the way up to the promise that if you sin, you go to Hell.
On top of all that, I realized that the original Funny Games is Haneke's own version of the Ludovico treatment, a form of cinematic Pavlovian conditioning.
These days, I think that A Clockwork Orange is one of Kubrick's weaker films, a film motivated by snarky anger as opposed to his real masterpieces (for me, 2001 and Barry Lyndon), which tend to have a greater degree of compassion and spiritual reflection. In addition, it's probably the most dated of all of Kubrick's movies in terms of production and costume design, and I've never really understood the ending - that final shot of a crowd of people applauding copulation in the middle of some freakshow desert? But this is all relative, and even a 'weak' film from Kubrick is better than most filmmakers can manage in their careers.