In the past all a King had to do was look respectable in uniform and not fall off his horse.
A truly excellent movie always manages to boil its story down to the essentials. It’s the mediocre ones that fumble around trying to figure out what they’re about. I won’t say what the bad ones do, but it often involves some hand lotion and a back issue of National Geographic.
Do not speak to me of rules. This is war! This is not a game of cricket!
Even before its classic final scene, the subject of madness runs under this particular bridge, as all three of the main characters have their sanity questioned at some point and the chief questioner, played by William Holden, jokingly questions his own mental state. For all its vast scale, The Bridge on the River Kwai remains an indelible and intimate portrait of fanaticism fatally clashing with fanaticism.
Whatever the merits of his various films, you have to admire Ang Lee’s ability not to be pigeonholed as a filmmaker. There aren’t many mainstream filmmakers with as varied a résumé, including comic book movies (Hulk), martial arts (Crouching Tiger, Hidden Dragon), gloomy family dramas (The Ice Storm) and genre-bending love stories (Brokeback Mountain). Thus it’s probably no surprise that he seems perfectly comfortable handling this Chinese-language character study masquerading as a spy thriller.
I’d just like to say that if there are any more back home like you, God help anyone who goes to war with America.
If Fox’s 1970 film Tora! Tora! Tora! was a little too academic and dry, then Michael Bay’s Pearl Harbor is simply all wet. I’m not exaggerating when I say that I’ve rarely seen a movie find more ways to put the wrong foot forward. The tacked-on romantic triangle makes Titanic look like Jane Austen and Shakespeare combined. The historical accuracy is slightly more suspect than O.J. Simpson. The special effects turn one of the most solemn moments in American history into a video game.
I fear all we have done is awaken a sleeping giant fill him with a terrible resolve.
Think of this movie like a long, slightly boring lecture in history class, only with explosions. This attempt to do for the attack on Pearl Harbor what The Longest Day did for the D-Day invasion of Normandy succeeds on so many technical levels that it’s a shame that it fails to engage the audience emotionally in its subject matter.
However, while it was initially a failure at the box office, I wonder if the film ultimately managed to recoup its budget through royalties from licensing pieces of the film as stock footage. It’s hard to find a movie about World War II in the Pacific over the next twenty or thirty years that doesn’t reuse at least a few shots from Tora! Tora! Tora!
Still think it’s a dream?
For what it tries to be, about the only thing I can find wrong with The Final Countdown is the title. There really is no countdown involved and, even if there were, there would be nothing particularly final about it. We shouldn’t let that hamper our enjoyment about what has to be the best movie ever made about a time-traveling aircraft carrier.
This is one of those movies that would be nothing without its cast, as it depends upon actors with a certain level of gravitas that you need to sell a profoundly silly premise and this film has scored a jackpot in that department.
Nobody ever lies about being lonely.
In lesser hands, this movie would have been one long soap opera, but this adaptation of James Jones’ rather bawdy novel
You will soon be standing where we are now.
Only the young and idealistic would believe that they could reverse the course of a murderous regime with a few thousand mimeographed leaflets, but that is what the members of the White Rose, an anti-Nazi student resistance group, tried to do and that is the crime for which many of their members, including 21-year-old Sophie Scholl (Julia Jentsch), were executed.
Patton will lead the assault. I would prefer Montgomery, but even Eisenhower isn’t that stupid.
This movie serves as both an unofficial sequel and thematic bookend to The Longest Day. It has an undeserved reputation for being overlong, ponderous and dull. It’s none of those things but I can understand how it could appear that way to people expecting a more conventional war movie.
A Bridge Too Far details, at great length and in exacting detail, the Allied debacle known as Operation Market Garden, an over-ambitious plan by General Sir Bernard Law Montgomery to end World War II by Christmas, 1944, by kicking down the undefended back door of Germany. The main problem with the battle plan was that it depended entirely on Murphy’s Law being repealed. (more…)
I feel ancient around these kids. Like I’m on some Children’s Crusade.
Wolfgang Petersen’s obsessively detailed World War II epic remains one of the most influential war movies and certainly continues to set a gold standard for submarine movies. Even the best of the rest, such as Hunt for Red October, run a distant second. If this all sounds like fanboy blather, well, it is, but it’s still hard to overstate the achievements of this film.
