Any Given Sunday (Special Edition Director's Cut) - Oliver Stone Collection (Snap Case) (1999) Review

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(More customer reviews)No one can accuse Oliver Stone of being original. In 1987's Wall Street he took the age old story of a youngster being seduced by money and power and turned into one of the most scathing attacks on heartless Capitalism. So predictably Any Given Sunday doesn't really have anything new to say, just a lot of old things to shout.
One negative review of the film said "Stone directs like a deranged rooftop sniper". And with full frontal nudity, severed eyeballs on the feild and a general air of violent intensity it is clear that the film is excessive. But that is also why it works. Stone manages to give the viewer that voyeuristic delight of a peeping tom who's only allowed to look at something for two seconds before he pulls the camera away. As he did with JFK and NIXON, Stone uses every camera angle concievable, but unlike those two films Any Given Sunday never really becomes a flawless whole.
The film tells the story of the Miami Sharks head coach Tony D'amato(Al Pacino looking very angry). His team is on a losing streak, his quarterback(Dennis Qauid) is injured and is replaced by the talented but ego-centric Willie Beaman (Jamie Foxx), who according to D'amato "may sell a lot of T-shirts but is ripping the team apart". Now D'amato has got to battle this kid, the greedy ice cold team owner (Cameron Diaz) and a corrupt team doctor who lets injured players on the field despite fatal risks and then justifies it to himself with twisted morality(James Woods). The scenes between these four principles are stunning, and even there Stone refuses to let the camera sit still. It might have been a wiser descision to tone down the off-field scenes.
Any Given Sunday may seem from its reviews as a tradional sports movie, with the big game ending and bonding theme. While it has those, it far too cynical and ambitious to be just about that. Just incase you don't get it, Stone gives you images of Ben Hur (Football as the modern Gladiator arena) and even casts Charlton Heston as the league comissioner. And ofcourse you get the prescribed dose of anti-consumerism ranting.
In final analysis, Any Given Sunday is not a great film or a historical achievement. But its frequently inspired, always fixating and exhausting. When it hits, it hits very hard.

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When a devastating hit knocks a professional football legend and quarterback cap rooney out of the game a young unknown third-stringer is called in to replace him. Willie beaman seizes what may be his last chance and lights up the field with a raw display of athletic prowess.Studio: Warner Home VideoRelease Date: 09/27/2005Starring: Al Pacino Jamie FoxxRun time: 157 minutesRating: RDirector: Oliver Stone

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Any Given Sunday (Director's Cut) (2009) Review

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(More customer reviews)No one can accuse Oliver Stone of being original. In 1987's Wall Street he took the age old story of a youngster being seduced by money and power and turned into one of the most scathing attacks on heartless Capitalism. So predictably Any Given Sunday doesn't really have anything new to say, just a lot of old things to shout.
One negative review of the film said "Stone directs like a deranged rooftop sniper". And with full frontal nudity, severed eyeballs on the feild and a general air of violent intensity it is clear that the film is excessive. But that is also why it works. Stone manages to give the viewer that voyeuristic delight of a peeping tom who's only allowed to look at something for two seconds before he pulls the camera away. As he did with JFK and NIXON, Stone uses every camera angle concievable, but unlike those two films Any Given Sunday never really becomes a flawless whole.
The film tells the story of the Miami Sharks head coach Tony D'amato(Al Pacino looking very angry). His team is on a losing streak, his quarterback(Dennis Qauid) is injured and is replaced by the talented but ego-centric Willie Beaman (Jamie Foxx), who according to D'amato "may sell a lot of T-shirts but is ripping the team apart". Now D'amato has got to battle this kid, the greedy ice cold team owner (Cameron Diaz) and a corrupt team doctor who lets injured players on the field despite fatal risks and then justifies it to himself with twisted morality(James Woods). The scenes between these four principles are stunning, and even there Stone refuses to let the camera sit still. It might have been a wiser descision to tone down the off-field scenes.
Any Given Sunday may seem from its reviews as a tradional sports movie, with the big game ending and bonding theme. While it has those, it far too cynical and ambitious to be just about that. Just incase you don't get it, Stone gives you images of Ben Hur (Football as the modern Gladiator arena) and even casts Charlton Heston as the league comissioner. And ofcourse you get the prescribed dose of anti-consumerism ranting.
In final analysis, Any Given Sunday is not a great film or a historical achievement. But its frequently inspired, always fixating and exhausting. When it hits, it hits very hard.

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Life is a contact sport and football is life when three-time academy award-winning filmmaker Oliver Stone and a dynamic acting ensemble explore the fortunes of the Miami Sharks in Any Given Sunday. At the 50-year line of this gridiron cosmos is Al Pacino as Tony D'Amato, the embattled Sharks coach facing a full-on blitz of team strife plus a new, marketing-savvy sharks owner (Cameron Diaz) who's sure Tony is way too old school. An injured quarterback (Dennis Quaid), a flashy, bull-headed backup QB (Jamie Foxx), a slithery team doctor (James Woods) and a running back with an incentive-laden contract (LL Cool J) also provide some of the stories that zigzag like diagrams in a playbook. and throughout, there's the awesome spectacle of motion, sound and action orchestrated by Stone.

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Born on the Fourth of July (Special Edition) (1989) Review

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(More customer reviews)I avoided this when it came out in 1989 having seen Coming Home (1978) and not wanting to revisit the theme of paraplegic sexual dysfunction and frustration. I also didn't want to reprise the bloody horror of our involvement in the war in Vietnam that I knew Oliver Stone was going to serve up. And Tom Cruise as Ron Kovic? I just didn't think it would work.
Well, my preconceptions were wrong.
First of all, for those who think that Tom Cruise is just another pretty boy (which was basically my opinion), this movie sets that mistaken notion to rest. He is nothing short of brilliant in a role that is enormously demanding--physically, mentally, artistically, and emotionally. I don't see how anybody could play that role and still be the same person. Someday in his memoirs, Tom Cruise is going to talk about being Ron Kovic as directed by Oliver Stone.
And second, Stone's treatment of the sex life of Viet Vets in wheelchairs is absolutely without sentimentality or silver lining. There are no rose petals and no soft pedaling. There was no Jane Fonda, as in Coming Home, to play an angel of love. Instead the high school girl friend understandably went her own way, and love became something you bought if you could afford it.
And third, Stone's depiction of America--and this movie really is about America, from the 1950s to the 1970s--from the pseudo-innocence of childhood war games and 4th of July parades down Main street USA to having your guts spilled in a foreign land and your brothers-in-arms being sent home in body bags--was as indelible as black ink on white parchment. He takes us from proud moms and patriotic homilies to the shameful neglect in our Veteran's hospitals to the bloody clashes between anti-war demonstrators and the police outside convention halls where reveling conventioneers wave flags and mouth phony slogans.
I have seen most of Stone's work and as far as fidelity to authentic detail and sustained concentration, this is his best. There are a thousand details that Stone got exactly right, from Dalton Trumbo's paperback novel of a paraplegic from WW I, Johnny Got His Gun, that sat on a tray near Kovic's hospital bed, to the black medic telling him that there was a more important war going on at the same time as the Vietnam war, namely the civil rights movement, to a mother throwing her son out of the house when he no longer fulfilled her trophy case vision of what her son ought to be, to Willem DaFoe's remark about what you have to do sexually when nothing in the middle moves.
Also striking were some of the scenes. In particular, the confession scene at the home of the boy Kovic accidentally shot; the Mexican brothel scene of sex/love desperation, the drunken scene at the pool hall bar and the pretty girl's face he touches, and then the drunken, hate-filled rage against his mother, and of course the savage hospital scenes--these and some others were deeply moving and likely to haunt me for many years to come.
Of course, as usual, Oliver Stone's political message weighed heavily upon his artistic purpose. Straight-laced conservatives will find his portrait of America one-sided and offensive and something they'd rather forget. But I imagine that the guys who fought in Vietnam and managed to get back somehow and see this movie, will find it redemptive. Certainly to watch Ron Kovic, just an ordinary Joe who believed in his country and the sentiments of John Wayne movies and comic book heroics, go from a depressed, enraged, drug-addled waste of a human being to an enlightened, focused, articulate, and ultimately triumphant spokesman for the anti-war movement, for veterans, and the disabled was wonderful to see. As Stone reminds us, Kovic really did become the hero that his misguided mother dreamed he would be.
No other Vietnam war movie haunts me like this one. There is something about coming back less than whole that is worse than not coming back at all that eats away at our consciousness. And yet in the end there is here displayed the triumph of the human will and a story about how a man might find redemption in the most deplorable of circumstances.

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THE BIOGRAPHY OF RON KOVIC. PARALYZED IN THE VIETNAM WAR, HEBECOMES AN ANTI-WAR AND PRO-HUMAN RIGHTS POLITICAL ACTIVIST AFTER FEELING BETRAYED BY THE COUNTRY HE FOUGHT FOR.

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Platoon (1986) Review

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(More customer reviews)"I think now, looking back, we did not fight the enemy. We fought ourselves. And the enemy was in us."
Thus the summation of Private Chris Taylor (Charlie Sheen) at the end of this film, a film about war, hate, self-realization, and survival. PLATOON tells a powerful story that moves beyond the horror and gore of the Vietnam War, a story that ultimately depicts the demise and disintegration of a dysfunctional combat unit. We see young Chris change before our very eyes, from a green, idealistic "grunt" to an embittered, disillusioned soldier. Chris' platoon is dominated--and subsequently divided--by two strong, yet very different men: Sergeant Barnes (Tom Berenger) and Sergeant Elias (Willem Dafoe). Barnes is cold, calculating, brutal, intolerant; Elias is compassionate, humanistic. The battle of wills between these two men is just as challenging as the Viet Cong out in the bush, and just as deadly. The film's climatic ending is powerful, spellbinding.
I dismiss naysayers of PLATOON as a soapbox for writer/director Oliver Stone's political agenda just as much as I dismiss Mr. Stone's politics. PLATOON hits you between the eyes with its depictions of warfare and human conflict, again and again. There's nothing to feel good about by watching this movie, just as there is nothing to feel good about by fighting a war. It is a dark, negative film--a negative film that happens to be compelling, thought-provoking, and very riveting.

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Platoon (Special Edition) (1986) Review

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(More customer reviews)"I think now, looking back, we did not fight the enemy. We fought ourselves. And the enemy was in us."
Thus the summation of Private Chris Taylor (Charlie Sheen) at the end of this film, a film about war, hate, self-realization, and survival. PLATOON tells a powerful story that moves beyond the horror and gore of the Vietnam War, a story that ultimately depicts the demise and disintegration of a dysfunctional combat unit. We see young Chris change before our very eyes, from a green, idealistic "grunt" to an embittered, disillusioned soldier. Chris' platoon is dominated--and subsequently divided--by two strong, yet very different men: Sergeant Barnes (Tom Berenger) and Sergeant Elias (Willem Dafoe). Barnes is cold, calculating, brutal, intolerant; Elias is compassionate, humanistic. The battle of wills between these two men is just as challenging as the Viet Cong out in the bush, and just as deadly. The film's climatic ending is powerful, spellbinding.
I dismiss naysayers of PLATOON as a soapbox for writer/director Oliver Stone's political agenda just as much as I dismiss Mr. Stone's politics. PLATOON hits you between the eyes with its depictions of warfare and human conflict, again and again. There's nothing to feel good about by watching this movie, just as there is nothing to feel good about by fighting a war. It is a dark, negative film--a negative film that happens to be compelling, thought-provoking, and very riveting.

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Winner* of 4 Academy AwardsÂ(r), including Best Picture, and based on the first-hand experience of OscarÂ(r)-winning** director Oliver Stone, Platoon is powerful, intense and starkly brutal. "Harrowingly realistic and completely convincing" (Leonard Maltin), it is "a dark, unforgettable memorial" (The Washington Post) to every soldier whose innocence was lost in the war-torn jungles of Vietnam.Chris Taylor (Charlie Sheen) is a young, naive American who, upon his arrival in Vietnam, quickly discovers that he must do battle not only with the Viet Cong, but also with the gnawing fear, physical exhaustion and intense anger growing within him. While his two commanding officers (OscarÂ(r)-nominated*** Tom Berenger and Willem Dafoe) draw a fine line between the war they wage against the enemy and the one they fight with each other, the conflict, chaos and hatred permeate Taylor, suffocating his realities and numbing his feelings to man's highest value life.

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Salvador (Special Edition) (1986) Review

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(More customer reviews)James Boyle, the journalist who actually lived this fascinating story, wrote this 1986 screenplay along with Oliver Stone, who also directed it. It takes place in El Salvador during in the early 1980s. War was raging and, depending upon which version you believe, it was either a Civil war against the military government or a potential communist takeover. People are being murdered every day and it's an awful place to be.
James Woods stars as James Boyle, a freelance journalist who had formerly been a reporter in Vietnam. His life in California is spinning out of control. He has no money, his wife has left him, and he craves the excitement of being where the action is. He and his disk jockey friend, Doctor Rock, played by James Belushi, drive down to El Salvador, drinking and drugging and spinning bad jokes all the way. At first it all seems like fun.
Then reality hits. And the two friends are plunged into the violence. There's one scene after another that made me cringe in horror. And yet, James Woods is quite a con man and keeps getting himself and his friend out of scrapes by his fast talking and former connections. He falls in love with a local woman, tells it like it is to the American Ambassador, and keeps getting into trouble. There's lots of action and lots of people getting killed. And yet, it's mainly about the personalities of the two lead characters. This adds a light touch to the horror that surrounds them.
It's a fast paced film without one dull moment. I couldn't stop watching and wondering what would happen next. The DVD extras feature a long documentary about the making of the film. That was interesting background and added to my enjoyment although by then I was dozing off. During the actual film, however, falling asleep would have been impossible.
Highly recommended.

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James Woods gives his "fullest, most humane, most emotional performance"(New York Magazine) to date in this "gritty, harrowing and bold thriller"(Gannett Newspapers).It's 1980. Young men, women and children are being brutally killed in a bloody civil war in El Salvador. It'sa horrific setting...but a perfect one for Richard Boyle, a sleazy war photojournalist whose careerneeds a jumpstart. Armed with his camera, Boyle joins the front lines in an attempt to capture atrocious-but-valuable images of pain and horror. But with each picture he takes, he catches a tragic side of humanity that ignites his long-buried compassion. And he unexpectedly discovers something thatwill change him forever: his soul.*1986 Actor (James Woods); Original Screenplay

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