Where do I even begin?  With the recent release of Redacted, director Brian DePalma has resurrected the spectre of the evil that men do during wartime.  Without going into great detail as to the failure of Redacted, I'll rather go into the huge success that his earlier telling of the true and near-identical story, Casualties of War, is.

Fresh into the Nam is PFC Eriksson (Michael J. Fox), who witnesses (along with the rest of his squad) his friend "Brownie" killed by an enemy sniper. 

His squad, Sgt. Meserve (Sean Penn), Clark (Don Harvey), and "Hatch" (John C. Reilly) decide to take revenge by kidnapping a Vietnamese girl (Thuy Thu Le) and, to put it kindly, treat her as "the spoils of war."  Eriksson stands as the voice of reason of the bunch, against it from the beginning, and refuses to take part in any of the evil deeds.  Brownie's replacement, Diaz (John Leguizamo) plays the "on the fence" character, who eventually (whether out of fear or just peer pressure) also damns himself with his actions.

Oh man, I can't believe I've never found the time to see Das Boot until now.  I mean, what was I thinking?!  If ever there was the definitive "submarine" war movie, this is it, hands down.  I think in my younger years I was put off by the length of it, but no more.

The plot follows the crew of the German U-Boat, U-96 as they set out into the Atlantic to attack convoys heading for Britain.  The problem is that by this time, the Royal Navy has figured out how to fight the underwater menace, and has left the U-Boat fleet sparse and spread out.

That doesn't keep U-96 out of danger, however.  On numerous occasions they must avoid being destroyed by depth charges, and they manage to pull it off, mostly due to the commanding presence of their Captain, Willenbrock (Jürgen Prochnow.)

But the combat isn't the great part of this film.  Consider that, apart from about three short episodes, one at the beginning, one at the end, and one about two-thirds in, the entire film takes place on board the sub.  All three and a half hours.  Now, that might sound tedious and dull to some, but director Wolfang Petersen turns this into an incredible story of human survival and spirit.

I am in a world of shit, yes.  But I am alive, and I am not afraid.

Stanley Kubrick's 1987 masterpiece Full Metal Jacket is a somewhat bizarre animal.  Is it a hardcore war movie? Is it an anti-war movie? Is it a scathing parody of nearly any war movie that came before it?  Is it irreverent?  Disrespectful, true in many ways but so outlandish in others as to be laughed at?

Yes.  All of the above.  What Kubrick's done with this movie is simultaneously create a send-up of all those wonderfully optimistic war films from the 50's, with their portrayals of basic training as nothing but a two month camping trip and the job after as a picnic in paradise interrupted by brief portions of fighting.

The first half of the movie focuses on mainly three new recruits at Paris Island, One "Joker" (Matthew Modine), "Cowboy" (Arliss Howard), and "Gomer Pyle" (Vincent D'onofrio).  In the role that made him famous, R. Lee Ermey's drill sergeant character is a ruthless sadistic creature from hell, spouting endless streams of profanity and insults at our recruits.  Eventually, those insults, combined with the group mentality of the squad, bring Pyle (and the DS) to a very un-humorous demise.

In that first section of the film he not only parodies every other film portrayal of basic training to date, he does it in such an over the top and funny style, that only when its over do you realize how un-funny it all was.  He also says a great deal about the assimilation process and the indoctrination that goes on.

The second half of the film sends Privates Joker and Cowboy to different places and different jobs in Vietnam, with Cowboy (like most) in the infantry, and Joker as a writer for Stars and Stripes.

Just about every stereotype you can imagine is portrayed here, the not-so-bright heavy machine gunner, the everything-is-a-sports-metaphor Colonel, the Gung-Ho "I need to get in the shit" desk jockey... you name it.  All the while intermixed with just plain bizarre moments and strange speech-like dialogue such as posing with dead NVA soldiers on "his birthday" and booby-trapped stuffed animals.

There are moments in FMJ which defy explanation and stand out as just plain out of place.  Such as the scene where the documentary filmmaker is running down the line of Marines and they all spout off some overly scripted tripe while "The Bird" plays on the soundtrack.  Part of the parody?  Possibly, but its the "not executed well" parts of the movie that hurt it.

On an action-combat-and-mayhem level, there really isn't a whole lot to speak of.  There's a short firefight as the Tet offensive begins, another brief moment of panic as their squad is shelled as they approach some burning city, and not until the end of the film does the real shooting begin.

And in the end is where it all comes together, as... well I won't spoil it for you completely, but suffice it to say that Joker runs right out of jokes, and has to look death in the eyes and come to terms with it....

...While wearing a peace symbol button and "Born to Kill" scribbled on his helmet.

Don't go into to Full Metal Jacket expecting Platoon or Saving Private Ryan.  It's a fairly strange piece of film, but if you know what to expect you'll get more out of it than if you go in expecting another average action movie.

And if you see it on HDNet Movies as I did just now, be forewarned there are some strange digital artifacts that will drive you nuts during the last ten minutes or so.  It's just weird.

(I should mention, too, that every so often I see this UH-34D, YL-37 flying around the area.  These birds are featured prominently in FMJ, and hats off to these guys for keeping YL-37 going!)

Technorati Tags: full metal jacket, 1987 vietnam, marine corps, usmc, stanley kubrick, matthew modine, arliss howard, r. lee ermey, vincent d'ononfrio, uh-34d, yl-37, parody, satire, war movie review

The US Civil War is a period that hasn't received as much attention as World War II, or Vietnam, but the few films or miniseries that have come out about it have been nothing short of great.

1989's Glory continues that legacy. Starring Matthew Broderick, Denzel Washington, Cary Elwes, and Morgan Freeman, its the story of one of the few all-black Union companies formed during the war, the 54th Massachusetts Volunteer Infantry.

In itself, Glory is a fine picture. The performances by the above four are nothing short of spectacular. The battle scenes depict just what a terrific nightmare and waste of life warfare in the period was. And it portrays the conflict of the North vs. the "property owner" mentality of the seceding South brilliantly.

And of course you have typical "military" moments such as supply issues, conflict within the ranks, etc. etc. etc.

For all its greatness, though, one thing bothers me about Glory. At times it comes across as purposefully, over-the-top, politically correct. There are numerous scenes which, of course, looked at today you can't help but read into them what the director and writers put into them. I (much as I hate to say it) think though that such moments in reality wouldn't have given the actual participants much, if any pause at all. Times being what they were and all. Context being everything you know.

Some of the violence is a bit on the light side, some of it not. But if you can allow the PC-ness of parts to slide, then Glory is one you can't miss. You might be able to catch this on HDNet Movies again in the near future (as I was able to.)



Technorati Tags: glory, movies, civil war, reviews

And then there was... Grenada?  Lost in the midst of "the big ones" was this tiny little intervention in the early 1980's.  1986's Heartbreak Ridge ends up focusing on that particular conflict in the end, but takes us through one platoon's journey from slackerdom to full-out Marines.

Seasoned veteran of Korea and Vietnam, Gunnery Sgt. Tom Highway (Clint Eastwood) returns to his old stomping ground as an instructor.  He visits a lot of ghosts from his past, including his old love interest, Aggie (Marsha Mason) and the fellow Marine he saved in Vietnam.  The stereotypical gung-ho supply officer turned base commander, Major Powers (Everett McGill) is there, along with the also stereotypical "college boy" Lieutenant.

On his way back to base, he meets up with a "punk" named "Stitch" Jones (Mario Van Peebles), who strands him at a bus stop/diner.  When he arrives on base, and finally meets his squadron of misfits, Stitch is there, leading the mission of mediocrity.

Gunny Highway proceeds to whip this group of misfits back into shape "old school" style, and in the process one-ups the base commander and his pet squadron.  He also makes amends with Aggie along the way.

But, as things go, they're called up to rescue a group of students from the island of Grenada, and their fighting skills are put to the test.  Of course they pass with flying colors, much to the dismay of Major Powers....

There are a lot of funny moments in this movie, especially during Recon platoons' training.  And unfortunately there are a few less-than-stellar musical moments with Stitch, which are nearly painful to watch and date this movie badly.

Sure its full of cliches, and typical 80's Rambo/A-Team style combat (the front-loader scene being a prime example) but overall its a great piece.  You also get some of the more memorable war movie quotes, like the entire "AK-47 assault rifle" bit...

Technorati Tags: war movie reviews, grenada, usmc, marines, clint eastwood, mario van peebles, heartbreak ridge, 1986

Much has been said about Oliver Stone's 1986 Platoon, culminating in a Best Picture Academy Award that year.

It's the story of young Chris (Charlie Sheen), fresh off the plane into the shit. And he winds up in all the usual Vietnam situations. Firefight in the jungle while on patrol, getting high back at base, burning up suspect villages and culminating in a huge NVA offensive against their position.

However the film's not about young Chris. At least not in my opinion. It's about the conflict between doing what's right (well, as right as it can get out there) as personified by Willem Dafoe's Elias, and the primal rage, fury, and killing nature inherent in all of us, personified by Tom Berenger's Sgt. Barnes. Chris is just an observer in all of this.

I saw Platoon when it first came out, and didn't understand it fully. Now that I (well I think anyway) get it, I wonder what all the hub-bub was about, really. Sure its a fair movie, and I'm told that its fairly spot on in its portrayal of "how things were"... but either it's just too full of the typical Vietnam war movie cliches, or it invented them and just hasn't aged well. I don't know which.

That's not to take away from the visual masterpiece that Platoon is. There's some incredible visuals here, and at times the action is pretty intense. At other times it seems almost funny-comical (i.e. when they're partying in their tent...) and comical in a not-funny way at others ("Dance! M-Fer!"... come on)

Given the importance of the film in War Movie History, I'd recommend you see it. Keep in mind the conflict between Elias and Barnes, and that there is the real drama and conflict.



Technorati Tags: movies, reviews, war movies, platoon, oliver stone, vietnam

I'm comin to get you!

The disillusioned and now imprisoned (after his escapades in First Blood) Vietnam vet John Rambo (Sylvester Stallone) gets a call from his old commander, Col. Trautman (Richard Crenna) to go on a mission back to the 'nam, and all hell breaks loose in Rambo: First Blood, Part II.

So what can you say about "Rambo," except that it was a smash hit back in the day.  And looking at it now all I can say is... "Why?!"

I suppose its because a lot of stuff gets blown up, a bunch of NVA's get theirs, and in the end Rambo gets some sort of vindication for the US loss in Vietnam, as well as sticking it to the Soviets just for fun.  I think that's what Rambo is supposed to be, fun.  Well, I can't say that it is.

Look, I remember thinking this movie was the sh-t back then, too.  What 14 year-old wouldn't?  Exploding arrowheads, popping-out-of-the-mud commando action, the obligatory big-ass Soviet helicopter gunship, the hot Vietnamese babe (barely) played by Julia Nickson....  I mean, come on!

But really I think what made Rambo the smash that it was, was the sentiment of the thing, basically explained by Rambo at the end of the film.  This time we win, and the vets get some overdue appreciation in the process.  There seemed to be a call-to-arms in that respect about that time, as you had other films like Chuck Norris' Missing in Action, and Gene Hackman's much superior Uncommon Valor, among others, and the next year Oliver Stone's much lauded Platoon....  I guess the nation was finally getting over it, and coming to terms, as well as purging some guilt over the multitude of MIA's that were never found....  I can't say for sure.  But it touched a nerve, regardless.

The plot is thin, the acting weak, the action heavy, but most of the time ridiculously unbelievable (how many rockets can a Huey carry, anyway!? Sheesh!)   And who invited the Soviets to the party?  From what I know there isn't much to support that little theory, other than the common communist bond between the two nations and a little arms commerce action.  I guess that was a little 80's cold war paranoia thrown in just for good measure.

Well, in case you've never actually seen it, the plot goes something like this:  After Trautman gets Rambo out of his rock-crushing prison duty, he's shipped off to southeast Asia to snap some photos of reported POW's somewhere in Vietnam.  He's not too keen on only taking pictures, but agrees anyway.  He manages to lose all his gear, meets up with his hot contact, and the two of them find the camp.  He manages to free a POW and almost gets away, before the evil mercenary Murdock (Charles Napier) aborts the mission, leaving Rambo in the hands of the Vietnamese, and the Soviets.   Of course he escapes, but his now love interest is killed.  He gets Rambo-pissed and kills and blows up everything on his way out in Rambo super-revenge-style, and manages to fly god-knows how far back to base in a shot-up chopper with the whole lot of POWs.

He gets back and shoots up the place, and makes Murdock wet himself, and delivers the famous "What I want" Rambo speech, the end.  That speech really makes you forget about the rest of the film, and is exactly what First Blood Part II is about.