Full Metal Jacket
This war movie depict a real war world.The undisputed view is that the value of "all metal shell" extends to the first half, and declines from there as the film falls into the routine. But the second chapter of Stanley Kubrick's Vietnam horror story is responsible for creating conventions. Through these conventions, we can recall and judge the picture. Even the conventional materials provided by artists like Kubrick are worth seeing: the second half of the all metal shell is, in a word, a pleasant and thrilling darkness. Compared with how the military culture depicted in the first half changes people, How war changes the naked portrait of man. Being belittled regularly can put one's mind in a dilemma. Being forced to kill another person will break their souls. Really, nothing in "all metal shell" is unworkable, and nothing can make Kubrick's point of view understood, but it is undeniable that its pre war sequence is so indelible, especially because R. Lee Ermey, as the immortal embodiment sergeant of the world's most terrible gunman.
Apocalypse Now Redux
Let's quote Truffaut, because his spiritual feeling is as important as the discussion of Francis Ford Coppola's discussion of Joseph Conrad's evil adaptation of the heart of darkness, as well as the discussion of war movies such as the road to glory and the consideration of general war movie. Perhaps, if we believe Truffaut, the Apocalypse of modern times (and its remake, which played more than 49 minutes on Netflix) can only support war by rebuilding war into an act of art. Perhaps this does not prevent the film from conveying Coppola's driving argument: war turns people into monsters, causing them to degenerate into a primitive, lawless state of mind. War itself is hell. An ominous phrase has now become a cliche, and has been seriously overused since 1979. If the film was born to sanction war through description, it did not sanction the impact of war on the human nature of its participants. In fact, apocalypse of modern times is still one of the most profound examples of the corrosive impact of violence on one's spirit and soul recognized by the state. It's cute. After 40 years, we can quote this movie in the extremely bad at&t ads, or reuse its background in order to make King Kong happen to contemporary audiences for the second time, but there's nothing cute, even all that quote, about it. Now the revelation is hot, disgusting and scarred, which is branded in our memory, because only the cruelest manifestation of human degradation can really be achieved.
Christopher Nolan has always been a contradictory and impulsive filmmaker. He wants to awe you with wonders, but he also captures the restlessness of the soul and distorts the value of every emotion, but he also has to stand outside and observe objectively, be simple, direct and serious, but also lock you in a puzzle box, take it apart and reassemble it. He is ambitious but introverted; Popular but artistic; Loud but quiet. Over the years, he has been fighting against all these moves, sometimes creating the greatest popcorn blockbuster of the century (Dark Knight), and sometimes creating an embarrassing and overly complex mixture of corn and kitsch (interstellar). He has an almost overwhelming power of film making tools, but especially recently, he has become increasingly difficult to control this power. This is why Dunkirk is such an amazing and almost fantastic achievement. It simplifies everything Nolan does well and badly, everything he opposes, everything he embraces, and all great and terrible things about him, and centralizes it until it becomes a pure Nolan, directly into your blood vessels. This is the most wonderful film Christopher Nolan can imagine. This may also be his best war movie.
The Hurt Locker
Katherine Bigelow's "zero darkness thirty" may be more ambitious in gradually recording the efforts to find and kill Osama bin Laden, but her previous anti-terrorism war movie "the wounded Locker" is still a more resonant achievement. It is essentially a character study under the guise of action movies. The theme of Bigelow is Staff Sgt. William James (Jeremy Reiner), a desperate maverick, not only has the knack of disarming the bomb, but also likes to do so recklessly. Apart from the creepy action and suspense films, most of the drama of the film is driven by the tension James' hot dog tendency creates between himself and everyone around him. But perhaps the most remarkable achievement of this film is that Bigelow is incredibly integrated into James' perspective, while standing outside James' perspective. In the quiet ending, James found that he was immediately tired of suburban life and longed to return to the adrenaline soaring war zone. After nearly two hours of relentless tension, we in the audience felt the same sense of stagnation as him. "War is a drug," journalist Chris Hutchins said in the opening sentence of the film. In the hurt locker, Bigelow allows us to understand this view in the most instinctive way and achieve real enlightenment.
The Guns of Navarone
Depending on who you ask, "the gun of navarron" is a purely technical work. Historical novels are all novels without history. Admittedly, its source work is Alistair McClain's 1957 novel of the same name, inspired by the battle of Leros during World War II, but J. Lee Thompson's film feels like its own beast, thanks neither to McClain's novel nor to the war itself. Guess what? No problem. Navarrone's gun is an amazing work, no matter where it draws fragments of the "mission man" plot. Not coincidentally, it was also the first of many such films that appeared in the 1960s (anyway, one of them), which was a niche in the war movie genre, and doubled in the next 20 years after its release. You may cite the cast of the film, starting with Gregory Peck, then Anthony Quinn, then Anthony Quayle and David Niven (and many others), and its role development, which are the two key factors for its success; On the contrary, you can pick out the action scenes, and each scene is as smooth, exciting and changeable as other scenes; Or you can choose to cheer for Thompson himself. His leading rhythm keeps the film on track without tailoring or repetition. Any. The fact is that you can't take one element away without affecting the other elements. In the end, this marks the excellent performance of "the gun of navarrone" as a coordinated top-drawer war movie.