Yeah. I didn't mean to imply it was the best in terms of accuracy to the book, I just meant in that it was well done.

sidenote: Wasn't the final chapter omitted in some versions?

There's an interesting bit on Wikipedia about Burgess's thoughts on the film. Also about his relationship with Kubrick

Anthony Burgess had mixed feelings about the cinema version of his novel, publicly saying he loved Malcolm McDowell and Michael Bates, and the use of music; he praised it as "brilliant", even so brilliant that it might be dangerous. Despite this enthusiasm, he was concerned that it lacked the novel's redemptive final chapter, an absence he blamed upon his American publisher (this chapter being omitted in all US editions of the novel prior to 1986) and not Kubrick.

Burgess reports in his autobiography You've Had Your Time (1990) that he and Kubrick at first enjoyed a good relationship, each holding similar philosophical and political views and each very interested in literature, cinema, music and Napoleon Bonaparte. Burgess's 1974 novel Napoleon Symphony was dedicated to Kubrick. Their relationship soured, however, when Kubrick left Burgess to defend the film from accusations of glorifying violence. A (lapsed) Catholic, Burgess tried many times to explain the Christian moral points of the story to outraged Christian organizations and to defend it against newspaper accusations that it supported fascist dogma. He also went to receive awards given to Kubrick on his behalf.

Burgess was deeply hurt, feeling that Kubrick had used him as a film publicity pawn. Malcolm McDowell, on publicity tour with Burgess, shared his feelings, and, at times, spoke harshly about Kubrick. As evidence, both novelist and actor cited Kubrick's uncontrolled ego manifest in the film credits: the only author credited is "Kubrick". Later, Burgess spoofed Kubrick's image, firstly in the musical version of A Clockwork Orange, where a Kubrick-like character is beaten; then in The Clockwork Testament (1974) novel, where the poet F.X. Enderby is attacked for "glorifying" violence in a film adaptation; and, in 1980, as the crafty director Sidney Labrick in the novel Earthly Powers.[citation needed]