Showing posts with label vietnam war. Show all posts
Showing posts with label vietnam war. Show all posts

Purple Hearts Review

Purple Hearts
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I won't bore you with another review.
If you want this terrific little movie to come
out on dvd then click yes when asked if this
review was helpful to you.
Please bring it out on DVD.

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During the Vietnam War, a doctor and nurse meet and fall in love.

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China Beach / Premiere Episode (1988) Review

China Beach / Premiere Episode  (1988)
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Superb. The entire series should be made available, but as yet, even this little gem is not available on DVD.
While I am also a big Dana fan, I was blown away by the level of realism and the sheer quality of the acting throughout this flawlessly executed epic series. A pre-Star Trek: Voyager Robert Picardo was one of the mainstays in a show that almost made MASH seem trivial by comparison - even given that MASH was a comedy.
This really is intense drama at its best, and the character depth and quality performances from Dana, Robert and an outrageously talented cast made this a classic series by any definition.
On following China Beach (the real location is now a leading Vietnamese tourist resort), you simply cannot help but be appalled that the Army nurses who risked and even gave their lives to save countless teenage soldiers, had to fight for Vet status for many years.
In a God-forsaken country in which every square inch was the front line, the courageous men and women at the Five and Dime showed how the human spirit can triumph in even the most overwhelming circumstances.
For me, Delaney and Picardo never topped these stunning performances, although I would watch literally anything that they appear in. This all-too-brief tape serves as a reminder of just how good television can be.
Haunting.

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This is the pilot episode for the popular TV series that made Dana Delany a star. Set at the 510th EVAC Hospital at China Beach, Vietnam, the movie presents the stories of the doctors, nurses, soldiers and USO entertainers who populated the base. Each character struggles to find their own way to deal with their personal problems and the war surrounding them.

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Running on Empty (1988) Review

Running on Empty (1988)
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I recently watched this film again, as I do periodically, and thought I'd comment. Several reviewers have pointed out that although the film is uniformly excellent, the DVD presentation is lacking, and I am of mixed feelings on that point. While it's true that the DVD doesn't offer more than the film, it's a film of such understated perfection and poignant brilliance that I wonder if we have the right to demand more. Sure, a director's or screenwriter's commentary track, or even a quick comparison of this to Lumet's earlier and similarly-themed Daniel, would be nice, but sometimes a movie is so good it doesn't need help.
I saw this movie on HBO as a kid, probably soon after it came out. I feel certain that I must have seen it several times, but although I vaguely recalled liking it immensely, I went for some years without thinking of it much. Then I went on a huge Sidney Lumet kick in 1997/1998 (owing to his compelling appearance on Inside the Actor's Studio and his intriguing book) and rediscovered this. To my utter astonishment, I began to see that the film had transformed me when I saw it as a kid, and it would be months before I unraveled all its subconscious shaping of my pysche.
This is a gorgeous, unflinching and aching film about tough choices and living with consequences, and I'm glad to say that despite numerous opportunities, it never once sinks into the chasm of Hollywoodisms that have capsized most films that even attempt something like this. It manages constantly to be honest and to present the gray areas of its characters, rather than letting them fit into simple archetypes of hero/protagonist, etc. I like that, because I don't find it helpful to understand the world in black and white, and clearly Lumet doesn't either. Even the most villainous character is given the opportunity to express his point of view, and although I don't sympathize with it, I at least understand it.
In short, there are really only a small handful of 'family' dramas that I would argue are completely genuine, and this is in that august company. (Ordinary People is the only other that leaps to mind at this moment.) It is a rare accomplishment indeed, and everyone in it is at least superb, with a couple of performances managing to go even beyond (Lahti's multiple, and heart-wrenching, inner conflicts toward the end are all clear without being tediously overacted -- an amazing feat, while Phoenix's Danny captures not only the torment of his character that's in the script, but the added burden of being a 17-year-old boy in general).
So would it be nice if they gave this the Special Edition treatment? Of course, and I'll replace my copy if they decide to. But is the lack of special features an excuse for not owning this? An unequivocal no. That's like declining to purchase an original Michaelangelo because the frame isn't perfect.

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Two fugitive radicals must face the painful consequences of their teenage son striking out on his own. Year: 1988 Director: Sidney Lumet Starring: Christine Lahti, River Phoenix, Judd Hirsch, Martha Plimpton

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

Born on the Fourth of July (Special Edition) (1989)
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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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Smothered - The Censorship Struggles of the Smothers Brothers Comedy Hour (2002) Review

Smothered - The Censorship Struggles of the Smothers Brothers Comedy Hour (2002)
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The 2002 documentary "The Great Smothers Brothers Censorship Wars" tells the story of how one of the most popular comedy variety shows on television in the Sixties went to far and was axed by the network. Tom and Dick Smothers were a popular comedy and folk singing team: Tommy played both the guitar and the role of dullard while Dick played bass, sang the tenor parts in the arrangement, and tried unsuccessfully to keep his brother in line. "The Smothers Brothers Comedy Hour" first aired on February 5, 1967 going up against the #1 show on television, "Bonanza." The show finished 16th in the Nielsens and helped knock the Cartwrights out of the top spot the following season. The show was a hit with younger viewers, who liked the irreverence of the show, which poked fun at every sacred cow they could find, aided and abetted by Pat Paulsen's "editorials."
As this documentary shows, the Smothers Brothers were having trouble getting things past the CBS censors almost from the start. When Paulsen ran a joke campaign for the presidency, CBS kept him off the air fearing the real candidates would demand equal time, but the two key blows were an appearance by folk singing legend Pete Seger, who sang the Vietnam protest song "Waist Deep in the Big Muddy" and a pair of comedy "sermons" by comedian David Bernstein. The technical reason for canceling the show was the failure to provide a tape on time to be cleared by the censors, but the motivation was clearly the anti-war, left-wing, and outspoken guest stars. Tommy Smothers could yell about the First Amendment all he wanted, but in the end CBS replaced the show with "Hee Haw," a lesson that was lost on no one at the time, which was, you should remember, Richard Nixon's first term in the White House.
The documentary is fairly balanced, with talking heads from both sides, some of which will be recognizable to young viewers (e.g., Steve Martin, a Smo Bro writer). For those of us who fondly remember Leigh French, Bob Einstein, and Mason Williams, this is a nice walk down memory lane, albeit through some bad times. "The Smothers Brothers Comedy Hour" was my favorite television show and when we left for Japan where my father was stationed it was the last television show I watched the night before the flight over. The documentary does assume that you know about the comedy of the Smothers Brothers, because that takes a back seat to the behind the camera conflicts between CBS and Tommy Smothers. Of course, in the television climate of today with what is available on cable the problems of the Smothers Brothers seems rather nostalgic, but there is still a chilling aspect to the tale when you recall the protests against the war, the assassinations of Kennedy and King, and the movement against dissent by the establishment at the end of that decade.
The great irony of course was that it was CBS that would be the network that would decide to air "All in the Family," which both ushered in an age of "relevant" prime time programming and constituted a de facto absolution for Tommy Smothers. Unfortunately, when the Smothers Brothers were let back on the air (on NBC) they were produced by Joe Hamilton, Carol Burnett's husband, who tried to force them into the mold of his wife's successful comedy variety show. By the time Tommy took over the producer's role the show was doomed by the half dozen shows he put on at the end were as fine as anything the format had seen and I am glad that when I met him several years ago I was able to tell him exactly that.

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An incredible slice of America’s media and pop-culture history, SMOTHERED tells the story of the censorship struggles of The Smothers Brothers Comedy Hour, the Emmy Award winning television program, broadcast on CBS from 1967 until it was prematurely stru

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Coming Home (1978) Review

Coming Home (1978)
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You can read the reviews to find out how moving and real this film is. Jane Fonda, Jon Voight and Bruce Dern are all perfect in their roles. Since the soundtrack doesn't seem to be available, I am going to share with you the songs played on the soundtrack so that you can compile your own soundtrack.
They are organized by group.
Happy Viewing and Listening! This is a film not to be missed.
Beatles - Hey Jude
Big Brother & the Holding Company with Janis Joplin - Call on Me
Tim Buckley - Once I Was
Buffalo Springfield - Expecting to Fly, For What It's Worth
Chambers Brothers - Time Has Come Today
Bob Dylan - Just Like a Woman
Aretha Franklin - Save Me
Richie Havens - Follow
Jimi Hendrix - Manic Depression
Jefferson Airplane - White Airplane
Rolling Stones - Out of Time, No Expectations, Jumpin' Jack Flash, My Girl, Ruby Tuesday, Sympathy for the Devil
Simon & Garfunkel - Bookends
Steppenwolf - Born to Be Wild

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Perhaps the most powerful picture ever made about the shattering aftermath of the Vietnam War, Coming Home earned eight Academy AwardÂ(r) nominations* and three OscarsÂ(r): Actress (Jane Fonda), Actor (Jon Voight) and Original Screenplay. Hailed by critics as "dazzling" (Rex Reed), "gripping" (Leonard Maltin) and "unforgettable" (Judith Crist), it is a heart-rending examination of a critical period in our nation's history and "an uncompromising, extraordinarily moving film" (Roger Ebert).When Marine Captain Bob Hyde (Bruce Dern) leaves for Vietnam, his wife, Sally (Fonda), volunteers at a local hospital. There she meets Luke Martin (Voight) a former sergeantwhose war injury has left him a paraplegic. Embittered with rage and filled with frustration, Luke finds new hope and confidence through his growing intimacy with Sally. The relationship also transforms Sally's feelings about life, love and the horrors of war. And when, wounded and disillusioned, Sally's husband returns home, all three must grapple with the full impact of a brutal, distant war that has changed their lives forever.

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Apocalypse Now Redux (1979) Review

Apocalypse Now Redux (1979)
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I'm a hardcore Apocalypse Now fanatic, and this, the original version of the film, is what made me one, several years ago. Reviewers like to debate endlessly over which version is better, this or the Redux. Personally, I like both, but I find this original version to be more surreal, relentless, and, to quote another reviewer, more "dangerous." The fact is, Coppola used different shots and edits in the Redux, in some cases diluting the surreal impact of the original. Plus the characters Kilgore and Kurtz come off more strongly in the original; sure, we get to see more humanity from Kilgore in the Redux, but his exit in the original is much more memorable, much better than the "tossing megaphone into the air" antics as shown in the Redux. And Kurtz is a more powerful Evil One in the original version, not much more than a shadow.
What gets me is that, in the press releases that came out with Redux, Coppola claimed that he no longer considered the 1979 version of Apocalypse to be "unusual." He felt that, today, it comes off as a rather ordinary film. So he integrated an extra 50 minutes into the movie, to make it more unusual. The thing is, the Redux is, if anything, MORE normal than the original. After all, you get more character development, a romantic subplot, etc; all the things the unusual (and unique), original version lacked. The very lack of these things is what gives the original such a mysterious, dangerous edge. There is no levity in the original, no stealing of surfboards, no Playmates for the PBR crew. Only the dark jungle, and the mission.
If it's true that Coppola wanted to make the original version even more unusual, then I wonder why he chose to add the Plantation sequence and the Playboy Bunnies escapade. Having seen the Work Print, I know that there is a wealth of material Coppola could've used. Bizarre? Unusual? How about a scene in which Martin Sheen's Willard, trapped in a bamboo cage, writhes in pain as the montangnards (and Kurtz's American soldiers) dance and chant around him, as they sacrifice a pig? Or how about Willard, still in the cage, being questioned by Kurtz, who tells Willard that he's as weak as his "colleagues in Washington?" Or how about possibly the most bizarre scene of all: Dennis Hopper's Photojournalist being shotgunned to death by Scott Glenn's character Colby?
Coppola could have used any or all of these scenes to make a truly "unusual" film, one that would successfully create a darker film. If anything, the extra scenes in Redux lighten the film's mood. Coppola could have even improved on the end of the movie. That's one thing that's always bothered me about Apocalypse Now. Willard's hired to murder Kurtz; when he finally does, all he has to do is just walk into Kurtz's temple, take out one guard, and then get to hacking at Kurtz. It comes off as so easy, you wonder why the Army even bothered hiring Willard. This problem is solved in the Work Print, which features Willard taking on a host of guards, including one grisly scene in which he spears an American guard who cowers behind a young, Vietnamese boy. Now, if you ask me, that's more "unusual" than a bunch of French people arguing politics at the dinner table! But unfortunately, Coppola has chosen not to use these scenes, in either official version of the film.
I don't intend to mislead, though. I think the Redux is fine, a five-star movie. It expands on the broader themes of Apocalypse Now, but at the same time lessens the impact of the movie itself. After having watched the Redux a few times, I popped the original in for the first time in a few years. I was amazed at how the film seemed so different than the Redux, so much more psychedelic and surreal. Even the fades and images shown in the beginning and the end are different in the original, more disturbing. And that's the main difference between the two versions: the original is much more disturbing.
I'll finish with another quote, taken from the web. Which director do you think is better, the Francis Coppola of 1976/1979, or the Francis Coppola of 2001? Of these two very different directors, whose vision would you be more willing to trust?
1/27/09 update: Six years ago I also had a review for the "Redux" DVD here on Amazon. Somehow it's been removed from the site -- it seems Amazon has combined the reviews for the original Apocalypse Now DVD release with the reviews for the "Redux DVD" release. And since Amazon has a policy that a reviewer can only post one review per item, it appears that my "Redux" review got the boot. I've rescued it from oblivion via a Google cache search; please see the Comments section, below, for the review.

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Good Guys Wear Black (1978) Review

Good Guys Wear Black (1978)
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This low-budget 'gem' from 1977 (I even remember there being a novelization, got to look for it) was a modest hit and pretty much made Chuck Norris a star. Playing John T. Booker (the way the credit is listed mades me wonder if there would be more John T. Booker movies, alas not to be), Norris is a former CIA commando whose dark past comes back to haunt him when the politician that set him up in a raid turned death trap needs to erase that unpleasent part of history. This is an old school action movie, back when they bothered to have plot and mystery prior to the fist fights and car chases, and it will probably bore many expecting wall to wall kung-fu action. Nothing happens until nearly an hour into the movie, then the pay off begins. Good Guys Wear Black was sold on the strength of one big stunt, Norris (or a double) leaping onto a car and kicking through the windshield to get at the assassin driving. It was impressive then, today it is routine. As I said, it is a low budget movie, one with Southern California locations filling in for Vietnam (sandy trails and eucalyptus trees in Vietnam???) as well as East Coast locations. Pretty giggle inducing. But the movie still works when watched in the context of its era (70s exploitation) and director Ted Post (Hang 'Em High, Magnum Force, Beneath the Planet of the Apes, etc.) keeps the movie professional looking, at least. One shocking bit of trivia, one of the movie's screenwriters is Children of A Lesser God author Mark Medoff. Wow. Recommended only to Norris fans on a nostalgia kick.

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A martial arts classic starring Chuck Norris as John T. Booker, a Vietnam Vet whose war actions have landed him at the top of the CIA's hit list. Now only a beautiful Senate investigator can help him unravel a treacherous plot - and maybe help keep him alive.DVD Features:BiographiesInteractive Menus


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Uncommon Valor (1983) Review

Uncommon Valor (1983)
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Over the years we have had Platoon, Full Metal Jacket, Siege of Firebase Gloria, Rambo II, Hamburger Hill and other Vietnam war movies. These movies showed the harrowing, gritty, and savage aspects that the Vietnam war doled out on soldiers.
Now, what about those soldiers that did not come home? Those soldiers that were left behind? Those soldiers that the U.S. Government did not think were worth rescuing because it was not politically feasible? Well, that brings us to Uncommon Valor.
This is a movie about Prisoners of War who were not forgotten by a group of Veterans who put aside everything, put themselves in harms way, and dared to defy the U.S. Government to do the right thing and bring those soldiers home.
We have Gene Hackman who is the retired Army colenel risking all to find his son and bring him home. Very powerful portayal here by Hackman who is determined to surmount all obstacles and do whatever is necessary and lead his group of men to find the prisoners.
Fred Ward, in a very good role, is an ex-tunnel rat that is still very haunted by a quite traumatic experience he had in a tunnel in Vietnam replete with vivid nightmares. Just as Hackmans character is still haunted by nightmares from the Korean war. Ward, accepting his fears and the trials and tribulations to follow, knows that they cannot leave POW's behind.
Randall "Tex" Cobb is another one recruited who never quite regained touch with society after the war but is admirable in the way that he gives everything in his soul to make sure this mission is a success.
Reb Brown, not a widely known actor as compared to some other characters in this movie, does a fine job as a demolitons expert who gives his life to ensure the success of bringing the boys home.
Patrick Swayze is the young but tough-as-nails ex-Marine who will go to Hell and back to be part of this mission due to his father being shot down in Vietnam and who is Missing in Action. When the other Veterans learn of Swayze's fathers status, they adopt Swayze as one of their own and Swayze does an excellent turn as an inexperienced but very, very determined team player.
Tim Thomerson and Harold Sylvster are the helicopter pilots that absolutely refuse to quit, and, no matter what the odds, they will fly that team and those POW's out of danger no matter what it takes. Both give excellent performances as great pilots under heavy stress.
Lastly we have Robert Stack who, like Gene Hackman's character, has a son who is missing in action and has a vested interest in this mission. Stack finances the whole operation and holds his ground when he is threatened by officials within the government to call off the mission. Stack portrays his part very nicely.
This movie is truly excellent and sends a very clear and decisive message. The United States government thinks it is not worth the effort or politics or trouble to retrieve men lost in a very ugly and very horrifying war. After what those men have been through in the war and in a prison camp, it is worth every dollar, every ounce of pain, every drop of sweat, every tear shed and every conviction of what is right to go and get those men out of that Hell hole and bring them home. There should be no hesitation whatsoever. You DO NOT leave anyone behind.......ever. I would give this movie 10 stars if I could.

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A man tries to find his son, listed as \missing in action" in Laos"

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Apocalypse Now - The Complete Dossier (Two-Disc Special Collector's Edition) (1979) Review

Apocalypse Now - The Complete Dossier (Two-Disc Special Collector's Edition) (1979)
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I'm a hardcore Apocalypse Now fanatic, and this, the original version of the film, is what made me one, several years ago. Reviewers like to debate endlessly over which version is better, this or the Redux. Personally, I like both, but I find this original version to be more surreal, relentless, and, to quote another reviewer, more "dangerous." The fact is, Coppola used different shots and edits in the Redux, in some cases diluting the surreal impact of the original. Plus the characters Kilgore and Kurtz come off more strongly in the original; sure, we get to see more humanity from Kilgore in the Redux, but his exit in the original is much more memorable, much better than the "tossing megaphone into the air" antics as shown in the Redux. And Kurtz is a more powerful Evil One in the original version, not much more than a shadow.
What gets me is that, in the press releases that came out with Redux, Coppola claimed that he no longer considered the 1979 version of Apocalypse to be "unusual." He felt that, today, it comes off as a rather ordinary film. So he integrated an extra 50 minutes into the movie, to make it more unusual. The thing is, the Redux is, if anything, MORE normal than the original. After all, you get more character development, a romantic subplot, etc; all the things the unusual (and unique), original version lacked. The very lack of these things is what gives the original such a mysterious, dangerous edge. There is no levity in the original, no stealing of surfboards, no Playmates for the PBR crew. Only the dark jungle, and the mission.
If it's true that Coppola wanted to make the original version even more unusual, then I wonder why he chose to add the Plantation sequence and the Playboy Bunnies escapade. Having seen the Work Print, I know that there is a wealth of material Coppola could've used. Bizarre? Unusual? How about a scene in which Martin Sheen's Willard, trapped in a bamboo cage, writhes in pain as the montangnards (and Kurtz's American soldiers) dance and chant around him, as they sacrifice a pig? Or how about Willard, still in the cage, being questioned by Kurtz, who tells Willard that he's as weak as his "colleagues in Washington?" Or how about possibly the most bizarre scene of all: Dennis Hopper's Photojournalist being shotgunned to death by Scott Glenn's character Colby?
Coppola could have used any or all of these scenes to make a truly "unusual" film, one that would successfully create a darker film. If anything, the extra scenes in Redux lighten the film's mood. Coppola could have even improved on the end of the movie. That's one thing that's always bothered me about Apocalypse Now. Willard's hired to murder Kurtz; when he finally does, all he has to do is just walk into Kurtz's temple, take out one guard, and then get to hacking at Kurtz. It comes off as so easy, you wonder why the Army even bothered hiring Willard. This problem is solved in the Work Print, which features Willard taking on a host of guards, including one grisly scene in which he spears an American guard who cowers behind a young, Vietnamese boy. Now, if you ask me, that's more "unusual" than a bunch of French people arguing politics at the dinner table! But unfortunately, Coppola has chosen not to use these scenes, in either official version of the film.
I don't intend to mislead, though. I think the Redux is fine, a five-star movie. It expands on the broader themes of Apocalypse Now, but at the same time lessens the impact of the movie itself. After having watched the Redux a few times, I popped the original in for the first time in a few years. I was amazed at how the film seemed so different than the Redux, so much more psychedelic and surreal. Even the fades and images shown in the beginning and the end are different in the original, more disturbing. And that's the main difference between the two versions: the original is much more disturbing.
I'll finish with another quote, taken from the web. Which director do you think is better, the Francis Coppola of 1976/1979, or the Francis Coppola of 2001? Of these two very different directors, whose vision would you be more willing to trust?
1/27/09 update: Six years ago I also had a review for the "Redux" DVD here on Amazon. Somehow it's been removed from the site -- it seems Amazon has combined the reviews for the original Apocalypse Now DVD release with the reviews for the "Redux DVD" release. And since Amazon has a policy that a reviewer can only post one review per item, it appears that my "Redux" review got the boot. I've rescued it from oblivion via a Google cache search; please see the Comments section, below, for the review.

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Nominated for 8 Academy Awards, this classic and compelling Vietnam War epic stars Martin Sheen as Captain Willard, who is sent on a dangerous and mesmerizing odyssey into Cambodia to assassinate a renegade American Colonel named Kurtz (Marlon Brando), who has succumbed to the horrors of war and barricaded himself in a remote outpost.Also stars Robert Duvall, Laurence Fishburne, Dennis Hopper and Harrison Ford.

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Good Morning Vietnam (1988) Review

Good Morning Vietnam  (1988)
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Many have tried to dismiss this film as nothing more than a comedic vehicle for Robin Williams. The concept of making light of the horrors of war, particularily Vietnam since it's still so recent in the minds of many turns alot of viewers off to the important potential lessons to be learned in this wonderfully insightful movie.
Based on the true life accounts of Air Force officer and D.J. Adrian Cronauer we get a birds' eye view into the strict and ridiculous bureaucracy that can at times reign over military policy and in effect hamper the morale and efforts of the American military.
Cronauer provided a much needed spontaneity to the air waves of Vietnam radio and brought however briefly to the American soldiers the contemporary music they wanted to hear. There is alot to laugh at in this film, what else could you expect with the likes of Robin Williams in the lead role. However there is much more going on than what first meets the eye. The concepts of acceptance, friendship, trust and love soon become entangled into the comedic elements which lead to the sad and poignant realization that cultural differences can't always be overcome by good intentions. A bittersweet truth so poignantly conveyed by the beautiful Trinh when rebuffing the romantic advances of Cronauer with the statement, "Vietnam ladies not friends."
This film will definitely make you laugh. It will also make you cry and even more importantly make you think. In the final analysis that's what it's all about. There are many wonderful performances in this movie complimenting Robin Williams amazing tour-de-force. My two favorites are Tung Than Tran as 'Phan' and Chintara Sukapatana as 'Trinh.'
Highly Recommended!!

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Academy Award(R)-winner Robin Williams shakes up 1965 Saigon in the role critics agree he was born to play -- irreverent, nonconformist deejay Adrian Cronauer. Imported by the Army for an early a.m. radio show, Cronauer blasts the formerly staid, sanitized airwaves with a constant barrage of rapid-fire humor and the hottest hits from back home. The G.I.s love him -- but the brass is up in arms! Riddled with sidesplitting comic bombshells and studded with hot '60s hits, the film depicts Cronauer's raucous Saigon adventures amid a world gone mad. GOOD MORNING VIETNAM is a direct hit -- the classic Robin Williams comedy!

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Return With Honor: The American Experience (1999) Review

Return With Honor: The American Experience (1999)
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The definitive documentary about life inside the notoriously brutal POW camps of North Vietnam - told by the American servicemen who lived it. Extraordinary historical footage combined with the reflections of the men some 25 years later makes this a compelling film. You will be inspired by their courage, touched by their humanity and confessions of weakness and fear, and then re-inspired by their enduring loyalty to each other. Kept in solitary, tortured, and forbidden to communicate with each other, it is a wonder they survived. Amazingly you learn how they did develop ways to cope and communicate, such as by using a "tap code" on the walls to communicate with men in adjoining cells. As one ex-prisoner puts it, some nights we had the Hanoi Hilton "sounding like a den of runaway woodpeckers." This remark is typical of the reflections you hear from the ex-prisoners. The men are never bitter, despite the fact they've been through a living hell. They are never pedantic and anxious to tell what great life lessons they've learned from the experience. They simply tell their story. Their wit and humor keeps Return With Honor from ever becoming akin to a depressing war move. Regardless of political opinion about the Vietnam conflict, almost every viewer will come away with an admiration for these Air Force and Navy officers who scarified so much in service to their country.

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RETURN WITH HONOR tells the powerful, moving story of American pilots shot down over North Vietnam and their challenge to survive with honor as POW's. A tribute to heroism, endurance, and brotherhood under duress, the film recalls the transformation from top-gun aviators to captives. Told in their words, rich with survivor humor, and complete with North Vietnamese archival footage, the film is a universal story of honor and duty.

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Platoon (Special Edition) (1986) Review

Platoon (Special Edition) (1986)
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"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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Flight of the Intruder (1991) Review

Flight of the Intruder (1991)
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Yeah, yeah... I agree with many other viewers. The movie storyline is not as good as in the book in two areas: 1. the in-depth description of its characters -I guess it's just too hard a job to explore the complexity of human personalities within 90mn; 2. the ending which, in the book, is a bit more in line with the actual war in Vietnam.
And also, that's true that the special effects are somewhat dated now...
But boy, being a professional of aviation, living, breathing, dreaming of it every day of my life, I can't applaude enough to the fact of being able to watch a movie that DOES feature combat aircraft! Just count the number of good action movies that actually show these machines, and I bet you'll be able to count them on the fingers of, say, 2 hands. That's just to stay on the optimistic side of things.
Flight of the Intruder is a real cool movie in terms of aircraft footage. You are "behind the wheel", at times you are literally in control of the aircraft. Your heart pumps faster when this ugly looking -and sounding- SAM detection signal flashes to and screams at the crew. And watch these unforgettable scenes with the A-1 Skyraiders, the famous "Sandys" at the end of the film! The shots, the sounds... Everything contributes to raising the hair of your neck with passion!
The movie itself is pretty well documented too, if only a bit too simplified. Looks like the film was technically supported by both the Navy and the Air Force. The pilots' jargon is accurate, and so is the overall A-6 bombing philosophy.
And after viewing it, you'll sit back and start reflecting on it, and I'm pretty sure that you'll end telling yourself: "These fly-boys in Vietnam... They sure had real guts". Hats and heads down, ladies and gentlemen, and respect for courage!

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Full Metal Jacket (1987) Review

Full Metal Jacket (1987)
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If you're a fan of this film like me and had bought the Blu-Ray or HD-DVD before and thought "This is hi-def?", then you're in for a treat. This newly remastered version has a sharper picture and better color image and new commentaries to boot. While not as stunning a transfer as "The Shining" or "2001", this is still a much improved re-release. Trade in your old copy and purchase with confidence.

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The story of an 18-year-old marine recruit named Private Joker - from his carnage-and-machismo boot camp to his climactic involvement in the heavy fighting in Hue during the 1968 Tet Offensive.

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Dear America - Letters Home from Vietnam (1988) Review

Dear America - Letters Home from Vietnam  (1988)
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Being a 5 years old boy living in Saigon (a peaceful but lively city even in war time) in 1972, I hardly noticed that the country was at war. If not for the facts that my father was an ARVN officer, news war footages on TV everyday, and once in a while seeing tanks & soldiers roaming & patrolling the countrysides, I wouldn't have thought or reminded of how much destructions the VN war brought to Vietnamese/US civilians, soldiers and their families.
Watching Dear America: Letters Home from VN for the first & only time on Veteran's day in the early 90's on PBS, I have found the utmost respect for all the young US men, women & their families who sacrified so much for that politically unwinnable war. I have watched, read a lot about this war from many different perspectives, but nothing has come close to truthfully provide personal experiences, heartfelt losses, and devastated destructions this war has caused as this documentary movie does.
I wanted to have a chance to watch this movie again for so long. It's so powerful in every sense of its word. It's a CAN'T MISS or a MUST SEE movie for educational & historical purposes/values. I have goose bumps from thinking about the movie now. I just can't wait to watch it again, the DVD is coming in a few days.

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Full Metal Jacket (1987) Review

Full Metal Jacket (1987)
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If you're a fan of this film like me and had bought the Blu-Ray or HD-DVD before and thought "This is hi-def?", then you're in for a treat. This newly remastered version has a sharper picture and better color image and new commentaries to boot. While not as stunning a transfer as "The Shining" or "2001", this is still a much improved re-release. Trade in your old copy and purchase with confidence.

Click Here to see more reviews about: Full Metal Jacket (1987)

The story of an 18-year-old marine recruit named Private Joker - from his carnage-and-machismo boot camp to his climactic involvement in the heavy fighting in Hue during the 1968 Tet Offensive.

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