Apocalypse Now (1979)
At the height of the Vietnam war, Captain Benjamin Willard is sent on a dangerous mission that, officially, "does not exist, nor will it ever exist." His goal is to locate - and eliminate - a mysterious Green Beret Colonel named Walter Kurtz, who has been leading his personal army on illegal guerrilla missions into enemy territory.
During the Vietnam War, Captain Willard is sent on a dangerous mission into Cambodia to assassinate a renegade Colonel who has set himself up as a god among a local tribe. Apocalypse Now is for sure a really beautiful film and very well made in general plus Robert Duvall gives one of his best perfomances and the entire cast is pretty good in general but where the film kinda disappointed me at least the Redux version did was with the story that was kinda slow and at times even hard to follow, some of the character's motivations were also a bit muddled like Brandon's for instance plus the scenes with the 2 women and the french weren't even needed. Overall an overrated and decent drama. (7/10)
While a war is simple: you kill and get killed. There's no need to justify wars or say they are something that could be avoided. They happen all the time because they are part of human's nature. Try to prove otherwise by looking at history )) Or by reading news.And let's be honest one more time: we're talking about movie selling business, so any idea will work well if it's sold. Blood, sex and f-bombs are all good for the audience sitting in cosy chairs and chewing popcorn.
'Apocalypse Now (1979)' is a beast of a film. It's an odyssey unlike any other, one that's just as interesting and tumultuous behind-the-scenes as on the screen, and you can almost feel the blood, sweat and tears dripping from every frame, with our protagonist's sanity coming only as close to breaking as Coppola's must have been. The result of the entire ordeal is an experience that's difficult to describe. It has an impact but also lacks a certain something, that intangible connection, that would really make it 'pop', so to speak. It's much easier to appreciate from a technical stand-point than it is from a narrative, as the latter is loose and unfocused while also lacking a real resolution. It may be the lax structure, which doesn't place all that much outward emphasis on character growth or 'plot-points', that leads the ending to feel less like a completion of an arc and more like the fulfilment of an inevitability. Still, there is a compelling exploration of theme occurring here. The way the piece uses its central conflict of Willard and Kurtz, who aren't really at odds but are simply told to be 'enemies', as a way of exploring the wider conflict is subtle but inspired. The story is a very personal one, but moments of Vietnam War examination and commentary seep into the narrative in interesting and unconventional ways. It's these moments that work perhaps the best, with the genuine spectacle combining with the horrors of war to make a comment on the 'validity' of - or Coppola's general feeling towards - the whole situation. When the piece slows down, however, the contemplative tone and harsh, hard-boiled narration can't always keep up with the expectations that have been previously set by vivid montages and brilliant practicality. There is a palpable dread that builds up as we float along the river, though, and eking out the meeting of our hero and his supposed foe is a wise move. When they do meet, their clash is marred slightly by Brando's ill-prepared performance which, while occasionally commanding, is generally not up to par and doesn't meet the admittedly elusive standards set by all the flick's foreshadowing. There's also a sour note when the real slaughter of a water buffalo comes into play, something which Copolla has since tried to downplay. This is an uncomfortable moment that is unfortunately extended and interwoven with a key scene, making for a cringe-inducing finale that honestly plays in pretty poor-taste - even if the contrasting symbolism of the two in-universe events works well. Overall, the film is an engaging and strangely hypnotic one that works when it works but does suffer from slow segments and some areas of discomfort. It is built upon spectacular spectacle and clearly took a lot of time, effort and talent to make. 7/10
No other movie captures the cataclysmic mammoth destruction the unmitigated grotesque annihilation chaos and mayhem atrocity the savage barbaric and mammoth disproportionately spectacular explosive totally bloody violent gruesome unparalleled nasty volcanically unstable catastrophic destruction and devastation and desolation of war