Reviews (110)

one the definitive films of the '80s finally on DVD!
WALL STREET has always been one of my favourite Oliver Stone films. it crackles with the same intense, acerbic dialogue as SWEET SMELL OF SUCCESS. from his "Greed is good" speech to the way he handles day to day deals with ruthless efficiency, you can see how Michael Douglas nailed this role of the ultimate amoral insider and deservedly won the Oscar that year for Best Actor.

after watching this film on a crappy pan and scam VHS tape, it is so gratifying to finally see this film given a proper DVD treatment. the transfer is crisp and clear with good sound but the real selling points are the fascinating documentary -- which features Douglas and Charlie Sheen and their views and thoughts of the film after all this time -- and Stone's informative and candid audio commentary. for someone like myself who has seen this film a zillion times, listening to Stone's observations on his movie was a real treat. great stuff. along with GLENGARRY GLEN ROSS, this is one of THE best films about money, greed and the people who ruthlessly pursue it.

'Gekko the Great'
Real-life bigtime investment banker Jeff Beck not only advised Oliver Stone when he made 'Wallstreet' but also stars in this film for a few minutes playing himself at a climactic meeting of topdog-lawyers and bankers. He delivers one of the many exhilirating monologues in this Epic tale of greed, pride and innocense lost. "Now your boss will really start thinking he's Gekko the Great!" He shouts at Bud Fox (Charlie Sheen) who plays a struggling young stockbroker who's desperately trying to get on the fast-track to becoming a "player".

Michael Douglas who plays 'Gordon Gekko' (not 'Gecko' as the Amazon review suggests, the name can be seen in the scene where Charlie Sheen turns on his computer in the morning and finds out it's "Gekko's Birthday") puts on such a mindblowing performance he really can be dubbed 'Gekko the Great'. The character is right up there with Don Vito Corleone, Tony Montana, Popeye Doyle and some other members of that elite group of high-octane male movie-characters that will long outlive the actors that created them.

Gordon Gekko is a high profile corporate raider that was probably modeled after Ivan Boesky (the biggest corporate raider of the 80's who eventually went behind bars for insider-trading), Michael Milken (creator and unchallenged 80's king of the high yield or junk-bond) and John Guttfreund (CEO of Salomon Brothers in the 80's who'se extravert and bizarre behaviour is documented in the classic books "Liar's Poker" (Michael Lewis) and "Barbarians at the Gate" (John Helyar).

Michael Douglas seems to have been born to play this part and from the moment he is introduced ("Lunch? whaddaya kiddin' me, lunch is for wimps!") to the moment we viewers have to part from his hypnotic character ("I gave you Darian, I gave you everything!") he reduces any leaps of faith that his character may present us with to tiny hops due to his powerhouse presence. In fact, whenever I see Michael Douglas in another movie I have the strange feeling that Gordon Gekko is trapped inside and might burst out at any time to hose us down with sardonic one-liners. ("Love is just an old lie created to keep people from jumping out of windows.")

Gekko is truly the "mother of all high-rollers", and his performance alone more than warrants the purchase of this film.

Charles Sheen plays a believable 'Bud Fox' but one wonders what a late 80's Tom Cruise or Kiefer Sutherland might have done with the part. Charlie never really creates the electricity that Douglas shocks the audience with.

I won't get into the details of the story here but will post some comments on the general themes in the movie.

There's the theme that Stone had already explored in 'Platoon' of two fathers fighting for the soul of their son. In Platoon it was Tom Berenger and Willem Dafoe battling for custody of Charlie Sheen's spirit. In Wallstreet it's Douglas and Martin Sheen representing the 'exciting but evil' and 'wholesome but tedious' ways to go for Charlie Sheen's character. This theme introduces some good tension in the storytelling.

The other theme that Stone put into this narrative is the bleeding heart "Capitalism is bad and unfair" jingle. "I don't produce anything...I own..." Gekko confesses at one point. "How many boats to waterski behind do you need? When is it enough?!" cries a shocked Bud Fox. The moral comments on succesful capitalists come accros somewhat naive and in my opinion don't really work. I won't go into the details but most people I've met who've seen the movie don't even remember what it was about Gordon Gekko that was so wrong. All they remember is the classic "Greed is Good" speech and ironically most of them agree with Gekko on the issue. The fact that Oliver Stone lets Gekko initiate industrial espionage is the reason I gave the movie only four stars instead of five.

I personnaly think this was a real blooper. A man in Gekko's position doesn't need the aggravation of blatantly breakin the law. There's a good plot-line concerning a fictive company 'Bluestar Airlines' that Gekko has his own plans with to make himself rich and get scores of hard working people fired that adds enough suspense to the tale. It seems as though Stone was so set on painting a negative picture of egoistical an a-moral Wallstreeters that he went one bridge too far.

Fact is that, if anything, this movie is like a recruiting video for Investment Banking. What "Top Gun" did for Naval Aviation "Wall Street" has done for Investment Banking. Big corporate banks have never had to complain about the amount of interested well educated young hopefulls but nowadays there's probably not one person sitting in any dealing room anywhere in the world who has not seen Wall Street. I am currently a trader in Amsterdam and I am convinced that if it wasn't for the scenes that have the camera following runners and stressed out yuppies yelling "How about those september 40's!" I wouldn't have been in this racket.

The dealing room-scenes are some of the most exhilirating scenes in the history of cinematography. Spielberg sucked in audiences with his scenes of Normandy's beaches in '44. Stone creates the same spellbinding grip on the audience without getting anybody shot or brutally maimed. That alone is a great achievement for any director in Hollywood. More so for the man who made a career in gory cinematic violence with 'Scarface', 'Platoon' and 'Natural Born Killers'.

Al Hail Gekko the Great! See this movie again and again. It's full of catchy one-liners that will make you not only the toast of any party but might provide you with more of an energy boost than any Tony Robbins video ever will. "Life all comes down to a few moments...this is one of them."

One of the Best Movies of the 1980's
Oliver Stone will never be known for subtlety. "Wall Street" bashes you over the head with its message- getting to the top in society requires duplicity, dishonesty, and the willingness to destroy any obstacle. However, unlike Ayn Rand, Stone vilifies rather than lauds this dubious morality. Bud Fox is a fresh faced, innocent stock broker trying to get ahead through hard work and elbow grease, as he was taught by his father. Bud soon meets powerful, charismatic corporate raider Gordon Gekko, incapable of love, remorse, or empathy. Gekko, we are told, sold NASA short 15 minutes after the Challenger exploded (impossible since the shuttle was destroyed in 1986 and the film is set in 1985!). Gekko predictably seduces Bud with his world of "perks", and Bud's star rises dramatically the farther he falls into corruption.

Throughout the film, Bud serves as a sounding board for the rival values of Gekko and his father. The speech most cited by critics and fans is the immortal "Greed is Good" monologue. While this speech, standing alone, is a vigorous defense of capitalism and selfishness, it is important to note that Gekko is using it at a shareholders' meeting against a lousy, entrenched, and greedy management!

Inevitably, Bud is forced to decide whether to follow his father's philosophy or Gekko's, and to pay the price for his misdeeds. A slight complaint with the ending- the fate of Gekko is hinted at rather than displayed. Gordon Gekko has become something of a hero for young, wanna-be big shots, who are attracted to the glamour of his lifestyle and his "up your's, I got mine!" attitude much as Bud was. Perhaps seeing Gekko get his comeuppance could have made an impression.

Overall, Wall Street is a tight, well done character drama populated with iconic characters delivering iconic dialogue that acts as an indictment of a decade. The movie and its message will stay with you long after viewing it.

As for the DVD, the sound, although in 5.1, is relegated almost exclusively to the center channel. One does not hear the sounds of Manhattan from all directions as Bud navigates the concrete jungle. The video quality appears grainy in some areas. This is a great movie worthy of better treatment on DVD.

Good.
'Wall Street' was a good movie, although once again, Oliver Stone goes way over the top. Powerful speech about greed by Michael Douglas though.

My favourite movie
I found this movie to be fantastic. I loved every minute of it. Most of this movie seemed to tie in with politics. Being a conservative, I found this very interesting. The plot of millionare Gordon Gekko followed along the ways life should be lived. Greed, power, and self-confidence.

Revenge was another big part in this movie. I liked how Charlie
Sheen played his role of Bud Fox. Towards the end the focus was to screw over Gekko and to have sweet revenge.

From this movie came my favourite quote of all:
"... greed, for the lack of a better word , is good. Greed is right, Greed works. Greed clarifies, cuts through, and captures the essense of the evolutionary spirit. Greed, in all its forms-greed for life, for money, knowledge has marked an upward surge of mankind..."

I'm not sure that my way is the way that Oliver Stone intended his movie to be interpereted. Oh well, I don't necessarilly care. Greed is Good! ... Read more

Reviews (231)

The Greatest Vietnam Movie, In my opinon.
Oliver Stone's "Platoon" is one of the best and most powerful of all war pictures. It is the best movie ever made about the Vietnam war. Stone's film is gritty, frighteningly realistic and incredibly powerful. Stone doesn't just show us the Vietnam war, he takes into the Vietnam war. The screenplay is brilliant and doesn't fall into the trap that other war films fall into, where the violence turns into a fun experience and fighting seems "cool." This is a movie that truly shows the horrors of war realistically and with great effect. The cinematography by Robert Richardson (JFK, Natural Born Killers) is rich and gritty, giving more feeling to already great material. The characters are believable and convincing. It's great work because Stone himself went to Vietnam, so he has a better idea of what happened than Francis Ford Coppola when he made "Apocalypse Now" (which is also a great movie). "Platoon" is mesmerizing, powerful, effective, disturbing and even philosophical. It is one of Stone's greatest works. He ignites the screen with passion. The music is incredibly moving. No other director has made better films about Vietnam than Stone, who's "Born On The Fourth Of July" and "Heaven And Earth" followed "Platoon," and opened our eyes to greater clarity. I was never less than spellbound by this work. "Platoon" vibrates with realism and energy. A very special motion picture

The Nam
Oliver Stone's Vietnam War film, PLATOON, remains a very intense film, even some 15 years after its theatrical release.
As seen through the eyes of Private Chris Taylor, (Charlie Sheen), the film focuses on the experiences of this naive young man and the other soldiers in his unit. As tensions mount and fears of the enemy threaten to overtake the men, a sick rivalry develops between Sgt. Barnes (Tom Berenger) and Sgt. Elias (Willem DaFoe) that sets soldier against soldier. The entire film takes you inside the minds of these 3 men for different views on the war and what it was like for the men that were there. Of course some of it seems tamer now, especially after, more recent war films. But PLATOON still is an intense look at the war, that, even today, no one really understands. Stone puts his real life experiences as a "Nam" vet, to direct to perfection. The performances by the cast are superb...

The Special Edition DVD has an excellent retrospective documentary on the film that is quite comprehensive. Of equal interest, were the 2 audio commentaries The first by Stone, the second by millitary advisor Dale Dye---both men put the actors through their paces. The photo gallery, theatrical trailer, t.v. spots and "collectible" booklet round out the disc's extras. This edition is vastly improved over the movie only edition and comes highly recommended

not God as some people praise it at but pretty damn good
very very enjoyable flick, mainly because it reminded me of FMJ(full metal jacket) and the humor was pretty good too. i might have preferred this film a little better if charlie s. wasnt in it but he actualy didnt do that bad of a job one part i found hysterical was that johnny depp has a part in it. with short blonde hair and he just is walking by then gets blown up. this film should deffinalty be in a war collects colection.

way too isolated and without emotions
Oliver Stone's was a veteran of Vietnam himself and he appears late in this movie, which is unfortunate for his own sake, because if I were him, I'd want to be hiding from this movie, pretending to have nothing to do with it. The three main soldiers (Willem Dafoe, Charlie Sheen, Tom Berenger) hate each other from the very beginning and everyone knows before it begins that it is about the loss of innocence because war is hell, so the things that happen to the three of them are pretty predictable. In some of his better work, mainly The Doors and Natural Born Killers, Oliver Stone uses a lot of effort to show the effect that the plot is having on the rest of the world. In The Doors, we see footage of Vietnam because it was transpiring at the same time. Likewise for Nixon. However, in this movie, we just see the war itself without seeing the outside world reacting to it as it unfolds. Oliver Stone does better work in the 90's.

Favorite Vietnam Piece
This is my personal favorite vietnam film. It blew away the others for me (ie..Hamburger Hill, Full metal jacket etc) The story, acting and gritty take of the war made this film VERY important. It asks some pointed questions and is a breathtaking film. Not to be missed! This should be in EVERY war film fan's library. plain and simple. ... Read more

Reviews (155)

Script Bad, Actor Good
The script to Oliver Stone's The Doors may not have been great, but V. Kilmer did a good job as Jim Morrison. I am a fan of Jim Morrison's writing and the Doors' music, and I think VK took Morrison on, body and spirit. A few moments in the film, in particular, are extraordinary, where his resemblance to/embodiment of Jim Morrison is uncanny... (*If you saw the movie and you're a Doors' fan, you can't have missed that.)

I agree that the soundtrack was fantastic, however maintain that Val Kilmer was the right one to play Morrison. In fact, I read that Val Kilmer was recorded singing along with Jim Morrison's voice on the last song in the film. For those who feel he was the wrong choice, go back and listen to how well he did that. I am a singer and I know what kind of work it takes to do something like that. It's hard enough to match your own voice, let alone someone else's. Credit where it's due. END

Absorbing movie - i didn't want it to end. (my only friend..
Utterly absorbing bio-pic of Jim Morrison. The name Val Kilmer is, or should be, synonymous with incredible acting that is not merely natural or convincing, but immensely fun and commanding. You may have noticed while watching his recent Wonderland - Val has the ability to make a picture. Here, he IS The Doors: The Movie. There, he WAS Wonderland. I am exaggerating, i suppose. For Oliver Stone has crafted a marvellous film which makes you feel like you've experienced what the sixties were like. Through using The Doors actual music (what was missing from the recent Sylvia, the art of the subject itself - her poetry) to help tell its story and colour its scenes, and filmic techniques to create the drug-induced world vision of Jim Morrison, Stone really takes you into the world of his movie, and the world of the sixties.

This movie made me appreciate what an exciting experience The Doors were, and has actually cultivated love in me for their music. I didn't realise they had more than one classic: Light my Fire, The End, People are Strange, Love her Madly, Break on Through to the Other Side, Riders on the Storm, Touch Me, Roadhouse Blues (Let it roll, baby roll) and probably more i'm yet to discover.

For a better recreation of what Andy Warhol's factory actually felt like, see I Shot Andy Warhol. Crispin Glover actually looks more like Andy than the guy who plays him in "I Shot," but the guy in I Shot much better captured Andy's vagueness and almost unconsciousness while in conversation. This, however, is but three minutes in the movie and has no effect on it as a whole.

Oliver Stone has an amusing cameo: a young film student, Jim Morrison, shows his short film to his class, who are uncouth and disparaging about it, after which camera pans to reveal Oliver Stone standing at the lecturn, (obviously, playing the film professor), who says: "Why don't we ask the author what he thinks?"

Flawed but Fascinating Film.
When a young man by the name of Jim Morrison (Val Kilmer), who writes Poetry and Studying Film in the University of Los Angeles. When Jim falls in love with a beautiful young woman (Meg Ryan). But then, his life slowly changes, when he decide to quit film school to be a songwriter and singer with the help of his close friend (Klye MacLachlan). Jim and his friend, together, they form a band called "The Doors" with two another members (Frank Whaley and Kevin Dillon). Which "The Doors" becomes One of the Most Sensual and Exciting Figures in the History of Rock and Roll, especially the lead singer-Morrison from the Sixties. Which the legendary outlaw, who rocked America's Consciousness-forever.

Directed by Oliver Stone (Any Given Sunday, Born on the 4th of July, The Hand) made a fascinating drama that make Stone's One of his Best Films. Kilmer is Perfectly Cast as Jim Morrison. The Supporting Cast are Terrific, including:Kathleen Quinlan and Micheal Madson. Also Rock Singer:Billy Idol, Cult Star:Crispin Glover and Film Director:Stone appears in Cameos. DVD has an sharp non-anamorphic Widescreen (2.35:1) transfer and an digitally remastered-Dolby Digital 5.0 Surround Sound. This DVD is the Director appoved transfer for HD Televisions. DVD Feautres are only:Production Notes, Cast & Crew Bios and Theatrical Trailer. There's also a Special Edition DVD of this film also. This was a Box Office Disapointment and the only flaw in the film is Second Half, where the film slows down. The film is nicely photographed by Robert Richardson (JFK, Kill Bill Vol.1 & Vol.2, Natural Born Killers). Written by the Director:Stone and J.Randall Johnson. Panavision. Grade:A-.

"ALRIIIGGHHHTTT!!!"
This is the best rock movie ever made. Oliver Stone is the most talented filmmaker of all time. This is a film he gets less credit for, but it was very personal to him and brilliantly done. First of all, he nails the life of Jim Morrison, the story of The Doors, and the L.A. Scene (1960s) as perfectly as it can be done. It is beyond nostalgoia, it is time travel.

As great as Stone's use of Doors songs, scenery, drug use and beautiful, heavily-decorated '60s California girls is, it is Val Kilmer who does this turn its proudest. Kilmer probably gets to the core of a real person as thoroughly and realistically as any actor who ever portrayed actual folks.

Next on the agenda, you have to love Frank Whaley as Robbie Krieger and Kyle McLaughlin as a spot on, irritating Ray Manzarek. To those of us who really studied Morrison and The Doors, everything is flawless. The film also conveys the essence of the bar scene, particularly Morrison urinating at Barney's Beanery, which used to be a real rock hangout before it turned into a cafe.

The feeling watching "The Doors" switches between a longing for the romance and excitement of the rock life these people led, and revulsion for the drugs and immorality inherent within it.

Love my girl!

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
...

Fiction Not Fact
For a director who tries to show Jim Morrison as a poet who turned to philosophy and music to discover the truth about himself I have to say I am dissappointed because Oliver Stone created a drunk egoistic poser. Jim Morrison was the lizard king not a sex machine. ... Read more

Reviews (26)

Woods steals the movie...as usual
Finally, back in print!

I'll be honest and admit first thing that I'm not a huge Oliver Stone fan. I rented this because James Woods is so entertaining in almost anything he's in. I was pleasantly surprised to find out that the movie itself turned out to be pretty good, too. The movies I liked that Stone directed didn't have a big political message, like U-Turn, The Doors, and Natural Born Killers (ok, that last one was slightly political) The only overtly hit-you-over-the-head-with-the-message scene in this movie is one where Woods and Savage were taking photos of a huge amount of dead bodies in a dump, and there's a subtitle saying "Blah-blah, dumping ground for corpses killed by death squads" (or something similar) Oh really? Thanks for the explanation Mr. Stone, I would have thought they were at the zoo.

I probably wasn't supposed to find this movie as funny as I did, but God James Woods was so hilarious. It's just his timing, or the way he says stuff --for example, "Hey man, where else can you get a 17-year old to (perform a sexual act that is unprintable here) for 7 dollars, man? 7...dollars!"--, or something, but he just totally steals the movie. He can just roll his eyes and I start cracking up. If it had a different actor in the starring role who wasn't as entertaining, I doubt I would have bought a copy. He was definitely robbed of a Best Actor Oscar for this movie--there's a scene near the start of the movie where he is barreling down the street in his crappy car and gets pulled over, that made me laugh so hard I played it back for my husband. Some of the scenes where they are driving down to Mexico are very Hunter S. Thompson-esque. The scene in the confessional where he asks the priest if it would still be okay to take a few hits of a joint once in a while is priceless. If you're a Woods fan, what are you waiting for? Get a copy fast! I can't imagine any other actor in the role, the other acting in the film is great, but he just acts circles around everyone else.

Oh yeah, and the movie itself is great, very emotional. You do care about the characters, even the sleazy ones. The ending also was unpredictable, and there a several scary, very tense scenes. One more thing--watch for John Doe of the punk band X in a small cameo as a restaurant owner-va va va voom!!! Recommended to Woods fans, Stone fans, or simply anyone who enjoys a good political thriller. Not recommended for kids, though.

A early powerful Stone film
Salvador is an early Oliver Stone film, which required overcoming many production hurdles, lying and cheating to complete filming, and committing fraud for additional money (all admitted by Stone in the commentary.)

It was underrated during its brief theatrical release, although James Woods earned and deserved his Best Actor nomination as a press photographer who goes to El Salvador, accompanied by Jim Belushi, to make some money photographing the political mess and killings there, including the murder of nuns and a priest. ("Romero" is a movie about the priest).

Based on "real events" and "real people" like all Stone movies, some license has been taken, also as in all Stone movies.

Political viewpoints aside, the movie pulls no punches in showing the atrocities of war. If you are squeamish about seeing dead bodies, burning bodies and bloody bodies, then you will have to look away on occasion. As in real life, there is some sex and swearing.

The DVD extras, including Stone's commentary, deleted scenes, and cast interviews and clips, are very interesting as well.

Old and Wrong
I know this movie is old, but I have to say it still makes me sick. From someone who was born in El Salvador and watched a parent get shot 50+ times from communist lefties, to watch this total lie of a movie is distrubing. James Wood "still" needs to be ashamed. This fiction has nothing to do with any reality in Central America, today, or yesterday.

Two thumbs up!
Without a doubt, Oliver Stone's masterpiece, 'Salvador,' is a great piece of film-making. Gritty, raw, and unrelentless, it drags you into a grim miasma of savagery and forces you to face a truly shameful chapter in American foreign policy. 1980, El Salvador. While Carter and Reagan slug it out for the keys to the world's largest 'democracy,' the wealthy elite of this Central American paradise realize their days of exploiting the have-nots are slowly eclipsing. With their CIA-trained advisors and Huey gunships, they embark on an all-out terror campaign to eliminate any opposition to their jack-booted oligarchy.

Up in safe El Norte, washed-out photo-journalist Richard Boyle (James Woods) spends his time evading rent, staring at soiled diapers and hungering for renewal, when Salvador comes knocking at his door. With his ravaged Ford Mustang, Boyle persuades his best friend (James Belushi) to accompany him on his grand adventure. Cruising down the verdant spine of Central America, things start to wrong, DESPERATELY WRONG as the tequila-swilling losers cross into El Salvador. Burnt-out cars, charred bodies and straw-hatted thugs block their way. Boyle's easy-living decadence gets a wake-up call. Here, there's no guarantee you have'll a tomorrow, much less a today. Boyle weasels himself out of danger by chumming with the head of the local death squad. Saved. But only momentarily, as Boyle and Co. sink deeper into the murderous quicksand that threatens to swallow them.

With the help of his ex-lover, Boyle begins to find the meaning his life has been lacking of late. In fact, he slowly realizes the need for a 'salvation' of sorts, when he reaffirms a childhood faith upon the urgings of his girlfriend. Yet, Boyle's real salvation comes with his engagement in the bigger picture. Forced to take sides, he first tries to stop the mayhem his own government has sanctioned and then slowly learns that in war, everybody's hands are bloody. Knowing that his film rolls are the only hope for change, he ditches his dreams of Pulitzer-glory and escapes north with lover and children in tow. Almost on the verge of death, Boyle scraps through to the land 'where you can do anything you want,' only to be tragically robbed of that which has redeemed him.

With 'Salvador,' Stone has crafted an intricate political thriller where there are no easy answers. True to his colors, Stone deals his country an extremely shady hand in this film. With the exception of Boyle and his sidekick, the Americans portrayed in this film are nothing short of caricatures. With their coiffed blonde-hair, Don Ho shirts and cardigans, they scream of arrogant imperialism, blinded by fear, 'if Salvador falls, we'll have tanks on Rio Grande!' and by pure greed. Over-the-top no doubt, but not without grounds, lest we forget Allende's Chile. But Stone is no mere polemicist, he DOES show the murky complexity of things, the often-clouded demarcation between good and evil. For example, Uncle Sam-bashing Boyle gets his fanny saved by the very same US ambassador whom he chides earlier on. And while Stone gives a ridiculously idyllic portrait of the marxist guerillas as gentle Tao-spouting Che Guevara's, he avoids outright idolatry by throwing light on their cruelties as well.

'Salvador' will grip you by the senses and won't let you go. Although the sadism and rhetoric are sometimes hard to digest, we are nonetheless saved from total despair by the odd pop-ups of quirky humour, like Boyle at confession...."does this mean I can still smoke a couple of joints?" And above all, its James Wood's performance that carries this film into the GREAT category. Mesmerizing with his high-pitched whine and ADD-like hyperactivity, Woods IS the archetypal Hunter S. Thompson gonzo-journalist! Belushi provides sterling support as his Sancho Panza sidekick always looking for the pain-less way out.

In a way, 'Salvador' IS the modern Don Quixote story. With his lance replaced with a Nikon, Wood's Boyle shows us the noble futility of thinking we alone are enough to save ourselves and others.

Classic Oliver Stone Production...
Just having re-discovered this film on DVD almost 10 years after I saw it for the first time, it was a pleasure to see that after so many years, its quality hasn't degraded in the slightest.

James Woods has cornered the market (as far as character actors go) on SLEAZY dirt merchants, but he's also proven himself capable of going toe to toe with some of the best actors in Hollywood. Simply put, if you want James Woods, you'll have to hire James Woods.

Although the table-side speech by Boyle (Woods) is a bit of a soapboxing moment, the rest of the film is at times hilarious and terrifying to watch. If nothing else, Stone accurately captured the utter turmoil of a nation in the throes of a dictatorship.

As for the extras, the commentary by Stone is quite good, but the documentary portion renders it pointless, for the most part. The deleted scenes make it QUITE clear exactly why they were cut from the finished print, but they could have been re-inserted without causing much damage to the storyline.

One of the best films of all time, never mind the 80s. "Platoon" and "Wall Street" may represent the apex of Oliver Stone's resume, but in my book, this one doesn't suffer one bit in comparison. ... Read more

Description

A film that chronicles New Orleans district attorney Jim Garrison's investigation into the assassination of President John F. Kennedy. It explores all the credible assassination theories that have raised the nation's persistent questions, doubts and suspicions. ... Read more

Reviews (228)

Makes You Question Reality
This is the best film you could ever watch about the JFK assassination. The movie compells you to research the events leading up to the conspiracy that ended the life of the 35th President of the United States.

Some people have complained that elements within the "JFK" version of the conspiracy are historically inaccurate and fabricated. This was done on purpose by Oliver Stone so people will look at the real-world evidence for themselves and discover the truth. What is the truth? The truth is that a conspiracy occured on November 22nd, 1963 because there is no way in the entire existence of universe that one man could engineer all the events that led up to Kennedy's assassination.

Those who continue to believe that Oswald did it alone will always be in denial and are forever brainwashed by the Warren Commission. Anybody who watches the Zapruder film and doesn't see the glaring evidence of a gunman on the grassy knoll when Kennedys head falls back and to the left during the head-shot is either ignorant, stupid or both. People who believe that Arlen Specters "magic bullet" can pause, stop, spin and do U-turns in mid-air to make the seven wounds in Kennedy and Connally, will believe the moon is made out of green cheese and walk off a cliff when told to do so.

Two versions of history have been a war with each other since that fateful day in 1963; written history and memorized history.

Written history is designed for those who want to control your thoughts with mind control. Memorized history will always keep your mind free from those who want to control your thoughts.

Oliver Stone's masterpiece
Now that some time has passed and the dust has settled, JFK can be looked at as a movie that is NOT historically accurate portrayl of what went down on that fateful day in Dallas, but rather an engaging, nail-biting thriller.

Whether you agree or disagree with Stone's view, there is no disputing the craftsmenship that went into this film. The use of multiple film stocks that create layers upon layers of interpretation of the events depicted. The editing alone is masterful as Stone juggles many subplots at once. Robert Richardson's cinematography is incredible (there's a reason why he won the Academy Award that year) and has become Stone's signature look.

And there is the cast: Kevin Costner does a fine job as the Gary Cooper-ish Jim Garrison who doggedly pursues his investigation. From here on in, there is a staggering who's who of big name and character actors filling in major and minor roles: Jack Lemmon, Walter Matthau, Tommy Lee Jones, Kevin Bacon, Vincent D'Onofrio, Gary Oldman, Joe Pesci, and the list goes on. Everybody does a great job and give the film an authenticity and believability.

This new, 2-DVD set is a HUGE improvement over the old, single flipper-disc. The entire movie (Stone's preferred cut) is now on one side and included is a fascinating audio commentary by Stone who manages to keep it going for the entire running time! His commentaries have always been a real treat to listen to and he does not disappoint on this one.

The highlight of disc two is a nice collection of deleted and extended scenes with commentary by Stone. It's pretty obvious why they were cut but nice that he included them.

This is a DVD that should be in every movie lover's collection. It's an important work and a cinematic landmark. It's influence can be felt in the TV show, 24 and the made-for-TV movie, The Pentagon Papers. I would also recommend picking up the annotated screenplay to the film which acts as the perfect companion to the film.

Shocking and thought provoking
Okay, I have a little trouble with the swearing but guess people can ignore it or get a blocker. That said, this was an outstanding movie and really made you think about the unthinkable. There are coverups that most of us have no clue about.The higher ups regardless of what people may think pull many strings to get done what they want done. Those we have always sought to trust can also be the ones who betray us. War is money and I am convinced, that the murder of JFK was a well orchestrated event. Buy the DVD with the accompaining documentary. It amazes me how some people refuse to believe it. BELIEVE IT. I love America but we are no saints here. Money and power is always a driving force. Don't ever think it can't happen here. Kevin Costner gives a brilliant performance and the impassioned speech in court toward the end of the movie that he gave portraying Jim Garrison drew me in like nothing I have ever heard. Watch "Thirteen Days" first than this one and rethink the situation and see what you come up with.

Scary
Oliver Stone's Director's Cut DVD has an extra seventeen minutes of footage added. This adds to the general suspense of the movie. JFK starts off very slow, like a History Channel documentary, and you think "Bo-ring!" But suddenly, in the whirlwind of dizzying camera shots and angles, you realize you are witnessing dark and distorted history being unearthed. By then you are so deep in, it is impossible to get out.

Kevin Costner is brilliant as New Orleans D.A. William Garrison, the man who brought the only public trial to this date on the JFK assassination. A string of brilliant and well-known actors complement the film. Joe Pesci, Donald Sutherland, Kevin Bacon, Sissy Spacek, John Candy, Ed Asner, Jack Lemmon, and Tommy Lee Jones give the movie so much credibility because their performances are simply so believable, and way out of the usual roles they play. In fact, this whole film represents a role the U.S. player that is far, far out of the role we usually play.

The score by John Williams alternately scares the beejesus out of you, or galvanizes you to action.

Lee Harvey Oswald is Innocent!
"I felt very emotional and very carried away for Mrs. Kennedy, that with all the strife she had gone through...that someone owed it to our beloved President that she shouldn't be expected to come back to face trial of this heinous crime."
-Jack Ruby
He supposedly killed Oswald because he loved our President, yet he has been proven to be a hater of the Kennedy family & has connections to the mafia! Very odd!
The records of the Kennedy Assasination specifically say Kennedy was killed with a "High Velocity" rifle, but the Italian Rifle which Oswald supposedly used in the killing was NOT a High Velocity rifle!!!!
It's pretty SAD that Americans actually accepted the "Official Story" of Kennedy's death. If you take a look at the Zapruder film & slow down the slides, you can actually clearly see that is was "doctored" & that some of the slides were taking out of the original film.
The common people are a bunch of sheep! ... Read more

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Any Given Sunday, Oliver Stone's salute-cum-exposé of pro football, belabors some pretty obvious points for nigh onto three hours; but between the frenetic editing, the pounding rap-music beats, and several flashy performances, it's certainly never dull. Al Pacino, coach of the fictional Miami Sharks (the NFL declined involvement in this production), struggles with the most time-honored of sports movie dilemmas: what to do with the old friend who's past his prime and the young hotshot who could save the franchise but first has to learn what being a team player is all about. Comedian Jamie Foxx does a marvelous dramatic turn as the rookie quarterback whose ego and talent are equally impressive, while Pacino seems more at ease in Oliver Stone Land than any actor since regular James Woods (on hand as well as a sleazy team doctor). Prowling the sidelines, shouting spittle-flecked orders, seizing up in almost physical pain when a play goes the wrong way, Pacino is as unashamedly--and entertainingly--hyperbolic as Stone's whirling montages of boiling storm clouds, bloodthirsty fans, and players smashed into the mud. (Once again football, perhaps the most sophisticated of team sports, is viewed cinematically as a bunch of guys hitting each other in slow motion.) Unfortunately, all the self-conscious mythologizing and pumped-up macho posturing that Stone can muster doesn't conceal a clichéd, slapped-together script, whose few good ideas (mostly about race in America) jostle about with several hoary, terrible ones--including a too-literal analogy of football players as modern gladiators. (To drive the point home, Stone includes Charlton Heston--the aging Ben-Hur--in one of many star-powered cameos.) All in all, Any Given Sunday is never dull, but never very enjoyable, either. --Bruce Reid ... Read more

Reviews (205)

Any Given Sunday
This was truly an excellent film. This movie is Oliver Stone's best since Platoon. The fast-moving and dizzying cinemaphotography fits the high adrenaline atmosphere of the professional football world well. The film is also perfectly cast. Pacino gives life to the head coach, and Cameron Diaz's clearly most intense role as the team's owner is believeable. James Woods gives an excellent performance as the team doctor, who doesn't really seem to care about anyone but himself. Jamie Foxx has a breakthrough dramatic role as the new hotshot quarterback, whose ritualistic vomiting adds humor to the movie. With his performance, we find out Foxx really can act. LL Cool J, also puts through a convincing performance as the team's running back. Dennis Quaid doesn't really do much as the former QB with injury problems except help to develop Pacino's character. An outstanding cast, that features Charlton Heston as the football comissioner, and Ann-Margaret as Cameron Diaz's alcoholic mother. Former pro football players Jim Brown and Lawrence Taylor pop up as members of the team. I recommend it highly. This is possibly the best sports movie ever made.

War games.
Oliver Stone's cinematic obsession with portrayting American culture as a Vietnam battleground continues with this exhausting study of their national sport.

Once again abandoning the traditional story-telling conventions in favour of flashy cutting, trippy camerawork and a barrage of electic musical snippets, this is a game of two halves. Although the hour or so of in-your-face American football footage is hypnotic, thrilling, scary and technically astounding, the off-field conflicts offer the same old tired sports cliches, albeit with big names and Stone's eccentric camerawork.

The first half hour of the film is almost a mini masterpiece. Sticking the audience smack in the middle of a ferocious game of American footbal, he brilliantly orchestrates frenetic, muddy, bloody, bone-crunching MTV visuals in a Natural Born Killers vein, and introduces the stressed protagonists. There's explosive coach Tony D'Amato (Al Pacino), cynical owner Christina Pagniacci (Cameron Diaz), dedicated star player 'Cap' Rooney (Dennis Quaid) and self-important star player to-be Willie Beaman (Jamie Foxx). When Rooney receives a major injury, Beaman is thrust into the spotlight and begins to show his potential. As his quarterback skills improve and the team seems destined for a play-off place, his arrogant disregard for the rest of the team causes majoy ructions. Meanwhile, Tony and Christina's major hate-hate relationship worsens.

There's a handful of other subplots too, which you could probably write yourself and the fine supporting cast - James Woods, Matthew Modine and Aaron Eckhart - are criminally underused. The behind-the-scenes drama is decently performed, but it seems so flat and pedestrian compared to the explosive games, that you find yourself willing on the next touchdown. Pacino is energetic as usual, even if he is in shouty auto-pilot, Foxx is almost Oscar-worthy in a memorable performance, and Diaz is pretty amazing, it is good to see the actress playing different roles, as her character, Christina Pagniacci is a cold-hearted bitchy business woman, and Diaz usally plays blonde sweet-hearts.

It would seem that the character-and-plot driven days of Platoon and Born on the Fourth of July are long gone for Oliver Stone. Pushing the technical envelope is an alright decision, but it is about time Stone varied his game a little.

About more than just the game
I'm not a football fan. In fact all I know about the game is that there is a ball that must be moved from one end of a rectangular field to the other. Stone decided to draw parallels between this modern game and the gladiators in Ancient Rome. The suggestions were anything but subtle, what with the grunting, clashing sounds, the numerous shots of Ben Hur and the actual references in the film you couldn't help but notice.

Although this movie is ostensibly about football, I came away from it learning a bit more about life. The movie is about an old coach (Al Pacino) whose love of the game has blinded him to life's real pleasures, an injured QB (Quaid) who is easily manipulated by others to continue playing even if it is detrimental to his health. The daughter (Diaz) of a dead football 'baron', who seeks to fulfill her father's lost hope for a son, and a rising star (Foxx) who is blind to everything but his own gratification. From these cast of characters Stone creates drama.

This movie is exciting even for those, like me, who aren't too interested in football. The game scenes seem more like gladiatorial battles than actual football games, and you are left wondering if we have really changed from those Romans thousands of years ago, the way 'we' love these slugfests.

As some earlier reviewers mentioned, Stone appears to be slightly biased in his portrayal of the management of these teams. They are definitely out to make money, but I doubt they are as ruthless as they were made out to be. He should have had some perspective in this movie so as not to make it seem like the management were the 'baddies' and the players hapless pawns.

Overall, this was a great movie. I'd recommend it to anyone who likes drama. For those with kids, you might want to watch it beforehand as it has some sexual scenes, nudity and quite a lot of obscene language.

Not quite there, but entertaining.
In Oliver Stone's Any Given Sunday, the audience gets hit by cliches as fast and as hard as the fictional Miami Sharks' quarterbacks get hit by other players during the film's opening game. The audience also get hit hard by the (overly) kinetic editing, both of the film and of the mish-mash adrenaline pumper of a soundtrack, featuring an assortment of rock, rap, and techno beats. Stone and co-writer John Logan push (overly) to get us to buy into their vision of the NFL as a modern gladiatorial arena, and frankly, it doesn't always work; Logan would later get his gladiator fix by co-writing Ridley Scott's crowd-pleaser, well, Gladiator. Still, Logan and Stone manage to score some points with their (overly) broad script which tries to give us an all-encompassing view of modern professional football. Inevitably, it proves too much, and the writing just proves too wide in scope to create a balanced and clear film, though it does have its shining moments, such as when Coach D'Amato (Al Pacino) has comments on the (overly) commercial persona the NFL has adopted, or when Cameron Diaz's character's mother describes the "tragedy" that is her daughter.

Pacino, completely at ease in an Stone flick, gives his first real performance in a long time. Both in his in-game frenzy and in his drunken, sadder scenes, Pacino delivers the goods. Comedian Jamie Foxx also turns in a winning dramatic performance as the rookie quarterback. Come to think of it, the whole cast is stellar and all perform well. Stone seems to bring out strong, almost flamboyant, performances in his actors, and in Oliver Stone films, that's very appropriate. However, the MTV-inspired soundtrack and cinematography detract from the serious delivery of some of the film's concepts. At times, the film seemed more an extended music video than anything else.

Any Given Sunday is a rough movie, both in terms production and in content. The film, despite its lengthy runtime, still feels like it left much of its ideas unsaid; the script just tries too cover simply too many characters and concepts, leaving many of the key players in a somewhat shallow and cardboard like state. Still, Any Given Sunday is an entertaining movie, and fans of football, Oliver Stone, and movies overloaded with dizzying amounts of music and testosterone will no doubt be pleased by the time the credits roll.

MOST REALISTIC SPORTS MOVIE EVER
Among Oliver Stone's work includes "Any Given Sunday" (1999), as good and realistic a sports movie as has ever been made. It features an over-the-top performance by Al Pacino as a veteran pro football coach who can still motivate his over-paid, over-sexed, over-drugged, slightly thuggish, mostly black (except for a few White Aryan Brotherhood linemen) mercenaries with a speech that sends Knute Rockne to the bench.
He reportedly is working on the story of the 1934 Republican industrialists who recruited Marine hero Smedley Butler to overthrow Franklin Roosevelt, which was the genesis of "Seven Days in May". We are still waiting for Tinsel Town to take on Kennedy stealing the 1960 election. It could be a long wait. If any producers are reading this, I am offering my services at the Writers Guild minimum. ... Read more

Reviews (78)

An Excellent Film.
Oliver Stone's "Nixon" is probably the greatest political film of recent years alongside his masterpiece, "JFK." Some people have attacked Stone for supposedly "re-writing" history, these are people who either don't care about knowing the dark truths history has to offer or don't understand how dramatic composition works. This is a brilliant, powerful and important work. Stone does not justify what Richard Nixon did, he instead, presents a portrait of a flawed man haunted by memories and events. There is a Shakespearean feel to the screenplay. The film is a look at how politics really works, how it's a jungle in that field where issues are forgotten and the object is to win. "Nixon" is a study of power, and how power really works in our system of government. Stone is one of the most brilliant filmmakers of our time, his film here is filled with powerful moments, intense, rich cinematography by Robert Richardson and an editing style that adds texture, realism and energy to the movie. As for re-writing history, the pundits who attack this movie are living in Disneyland and even John Dean claimed that there wasn't anything "unfair" in the dramatic license found in the script. Besides, who the hell goes to the movies to get the facts? For that watch a documentary (and those use a large degree of dramatic license too) or read a book! "Nixon," in it's depiction of how politics and the world works is completely accurate. If you don't believe it, do your own research and especially read Anthony Summers' "Official And Confidential: The Secret Life Of J.Edgar Hoover." Oliver Stone is one of the true film directors who dares to show the truth, who takes a mirror and forces us to look at ourselves. He understands how society and how we who live in society really do operate. Those who attack his work are the ones afraid to realize the realities of this world, they got no balls. He's a dramatic historian, a genius who's work is vital to the history of American cinema.

Not For the Kiddies --- (Fact or Fiction???)
Although the title of this review may falsely imply that this is a one-stop gorefest of a film, anyone who would just look at the title of the film would realize that the movie takes on more of a biographical undertone. And who better to provide us with a 3-hour+ epic with limited historical credibility than Oliver Stone?

I must say immediately that I am a huge Oliver Stone fan, mainly impressed with the range of direction appearing in his films and his tendency to take filmmaking to an extreme. Along with JFK, which unlike this film is not a biographical account of a past president, Nixon takes the viewer on a ride which causes him to ponder, "is this true? Did it really happen this way?" Although thorough in character development and powerful in delivery, this is not meant to be a documentary so to speak. If anything, it is sort of a subjective adaptation of events that took place; a dramatization.

The reason I say this film is not for children, is the level of its plot. Basically, you would have to had taken several college-level American history courses to even grasp some of the names and events mentioned by the actors in the first 20 minutes of the film to understand it.

Nixon, for whatever else it may represent, is a tale of a president who felt he was never beloved by the people, and who always feared the long-looming shadow of his predecessor JFK. It describes the trials and tribulations of a man disjointed with the public, yet still pure at heart.

The main focus of the film is on the notoriety of the Watergate Scandal, with the rest of the movie setting up the motive and the circumstances under which it took place. Nixon (played brilliantly by Academy Award winner Anthony Hopkins) spends most of the movie sheltered by his cabinet and chiefs of staff in discussing various conspiracy issues that occurred in the 60s and 70s.

Where this film truly blossoms, and where it earned a rare 5-star rating from me, was in its dynamics. Sure, 191min is a long movie (with the director's cut tallying an even greater 212min), but the film is brilliantly filled with "Oliver Stone-esque" flashbacks to old newsreel footage and supposed earlier points in the character's lives.

To mention the fate of all the characters would be futile in that there are so many key roles. Look for appearances by James Woods, Joan Allen, J.T. Walsh, Dan Hedaya, David Hyde Pierce... among others.

The only place this DVD lacks is in the lack of instillment of extra features, a maladie which was remedied in the Oliver Stone boxset. I cannot wait for Stone's next attempt at a president, with the title being Clinton.

A PLEASANT SURPRISE
He infers that the beast is embodied in the Central Intelligence Agency, which in turn controls the U.S. A sequence showing Nixon visiting CIA Director Richard Helms (Sam Waterston) was mostly cut out of the original film, but the video shows it in its entirety at the end of the movie. Helms and his agency are virtually said to be the devil. Flowers in Helms' office are shown to bloom and wilt in supernatural ways, presumably depending on Helms' evil whim. Waterston's eyes are shown to be coal black. He is Satan!
Nixon asks himself the rhetorical question, "Whose helping us?" while staring into a fireplace flame under a portrait of Kennedy. The theme is first brought forth in Nixon's college years, when his older brother dies, and apparently this frees up money through an unexplained source (an insurance policy?) that allows Nixon to go to law school. In light of two Kennedy assassinations, the answer to Nixon's question seems to be the same one that Mick Jagger gives in "Sympathy for the Devil".
"After all, it was you and me," Jagger sings, and Stone would have you believe it was the devil in silent concert with Nixon and his brand of...something. Jingoism, patriotism, xenophobia, bloodthirstiness? Nixon is seen on a couple of occasions shadowed by a devil-like winged creature (the beast), and his conversation with a female college student at the Lincoln Memorial ends with her identification of the beast as the controlling force in American politics. Presumably the girl is able to see this clearly because her heart is pure.
Stone invents secret cabals that never happened between Nixon and John Birch Texas businessmen, racist to the core, who along with a smirking Cuban are there to tell us that because Nixon was in Texas on November 22, 1963 he was somehow plotting JFK's murder.
The conspiracy link between "JFK" and "Nixon" exists in this reference, and the CIA "tracks" like the one Agent X talks about in "JFK", apparently tie Guatemala, Iran and the Bay of Pigs to subsequent events. The Bay of Pigs tie-in, led by E. Howard Hunt and his Cubans, Bernard Barker, Eugenio Martinez, et al, is real enough, but the assassination is one Stone insists is part of the same "track." Something on the list of "horribles," which Nixon discusses with H.R. Haldeman (James Woods), who then talks about "bodies," references to something I still have never figured out after watching the film 15 times. The Kennedy's bodies? Vietnam dead bodies?
Stone gives Watergate its due, but lets the actual events speak for themselves without embellishing it with more hate towards Nixon than that era produced of its own accord. He actually does a solid job of demonstrating the semi-legitimate reasons for creating the Plumbers in the first place, which was to plug leaks in light of Daniel Ellsberg's treacherous "Pentagon Papers" revelation, in concert with the bunker mentality caused by anti-war protesters threatening, in their mind at the time, a civil war like the one that forced Lincoln to declare martial law.
Stone also makes it clear that Nixon and his people were convinced that Kennedy stole the 1960 election, and he does not try to deny it (without advocating it, either). Murray Chotiner represents the realpolitik Republicans who, Stone wants us to know, pulled the same fraudulent tricks, when he says, "They stole it fair and square."
Nixon is depicted as foul-mouthed and quite the drinker. His salty language apparently was learned well into adulthood, and he did occasionally imbibe after years as a teetotaler, but his associates insist it was by no means a regular thing. Woods' Haldeman is no friend of the Hebrews, and Paul Sorvino, doing a big league Henry Kissinger, finds himself constantly at war with the inside Nixon team, put down for his Jewishness. Powers Boothe is a cold-blooded Alexander Haig, representing the reality of Watergate's final conclusion.
It never would have happened under J. Edgar Hoover, Nixon says, and Haig agrees that Hoover, who died just before Watergate, was a "realist" who would have kept it locked up. Nixon discusses suicide with Haig, who eases him out of that but never really tells him not to. When Nixon asks for any final suggestion, Haig says something the real man probably never said:
"You have the Army. Lincoln used it."
Sure.
Nixon breaks down, incredulous that for all his accomplishments, he can be brought down by such a nothing event. Stone allows Hopkins to infuse this scene with Shakespearean irony. Stone gives Nixon his due in many ways. He demonstrates that he was utterly faithful to his wife, Pat, turning down a right wing lovely served up by the Birchers, while telling the girl that he entered politics to help people. His hardscrabble youth is nicely portrayed, with Mary Steenburgen playing his long-suffering Quaker mother. Young Nixon is utterly faithful to her and the honest, religious ethic of the family. But in a later scene, Steenburgen looks questioningly at his Presidential aspirations, saying he is destined to lead, but only if God is on his side. It is a telling statement playing to his theme that dark forces are the wind at Nixon's sails. He enters politics as an idealist, and becomes something else because he discovers he has the talent for it. He is industrious, in contrast to the Kennedys, and will earn everything he has simply by out-working everybody.
An entirely loving portrait of Dick Nixon would have no credibility. Stone does a great job with the movie, which is as balanced as it could be with a side of liberal righteousness.(...)

A Hallmark Film
Oliver Stone said that he thought this film and his film, "JFK", are his "Godfather Part One and Two". I am in complete agreement with him. Together they are a one-two punch combination. This is a hallmark film.

From the Lemon Farm To The White House...
This review refers to the DVD edition of "Nixon"

This film opens with a notation, that it is a dramtic interpertation of the events based on public records, that some scenes may be condensed or hypothesized. With that said, you will find this film to be an enlighting, educational and entertaining look at this turbulent time in American History. Whatever you thought or think about Nixon, whether you admired him or hated him, you'll get a good look at the man who had such a great impact on the country and the world.

Oliver Stone keeps us fascinated with the story from start to finish. It includes Nixon's life as a young boy growing up in a Quaker family and the tragic loss of two brothers, that seems to have quite an influence on his life, his football years at Whittier College,trying to rise out from under the shadow of the beloved John Kennedy, his role in the Viet Nam War, the Presidency and of course the infamous Watergate break-in scandel, leading to his resignation from the Whitehouse. It's not just the events that keep us captivated in this well made film, but Stone delves into the depths of Nixon's soul and the people around him. His relationship with his mother, his wife, and the figures that he worked most closely with, are all very much part of this enthralling story.

The cast is simply amazing as they key players in the events. They all seem to become the very characters they are portraying. Joan Allen, Powers Boothe, Ed Harris, Bob Hoskins(who does a fabulous job as J. Edgar Hoover), E.G. Marshall, J.T. Walsh and James Woods are a few of the very talented actors involved. I want to make special mention of Paul Sorvino who took on the look and persona of Henry Kissinger so well, that it took me several minutes to realize it was Sorvino!

This is a film that may well be appreciated by the History buff and the Film buff alike. It's a great way to learn about or relive this eventful era in American History.

The DVD I have is not the special edition.There is closed captioning in English for those needing it but there are no other special features. It is a good way to go for those just looking for a quality film with a quality transfer.The DVD presents a beautiful widescreen picture with excellent surround sound in DD5.1. And although Amazon is out of stock on this edition, there are some really good deals from the outside sellers. If you don't mind spending a little more and would like to hear the commentary and interviews,you may want to consider the "Special Edition"

Whichever edition you decide on, this is one film that is well worth having in your collection.
Enjoy...Laurie ... Read more

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Oliver Stone used such words as "liberating" and "fun" to talk aboutU Turn's relatively quick production schedule of 42 days. Stone'sideas of film fun, however, are something older generations would call sick. This film isa Southwestern noir tale about Bobby Cooper (Sean Penn), a hotshot who is stuck in the tight confines of Superior, Arizona, when his car breaks down. His subsequent adventure is a meatball comedy--loud, obnoxious, and violent, and stuffed with diffused light, a hot cast, and a no-fat Ennio Morricone score. This film has plenty of odd characters, but you never really find out much about them. Bobby's first encounters include a repulsive mechanic (Billy Bob Thornton under the grease) and a blind Indian (Jon Voight under the makeup). Then there's Grace McKenna (a sizzling Jennifer Lopez), who is as dangerous as the curves of her red sundress. Bobby's got time to kill, and Grace seems more than willing. Unfortunately, it seems that Bobby has never seen a movie such as A Touch of Evil; if he had, he would know it can only get worse. About the time Grace's husband, Jake (Nick Nolte), shows up, Bobby is knee-deep in murder plots and double-crosses.

The first 40 minutes or so are "fun" to a point. Penn is the perfect near-creep to root for, and as he wanders back into town after meeting Grace, the eclectic characters pile up. But soon it gets monotonous, tiring, and just plain ugly. And when incest and bloody fights begin, the fun is gone. If Penn weren't so solid an actor and able to be empathetic in the most morose situations, the movie would be unwatchable at stretches. Lopez makes another good impression, but this is not a performance that stands out. Nolte, raspy and ill-looking, is the Lee Marvin of the '90s. Before U Turn is over, you are already wondering if Oliver Stone will do something else, something more important, soon. --Doug Thomas ... Read more

Reviews (80)

Twisted
Sean Penn plays a small time crook, trying to make it to heaven with somebody else's cash in his backpack. Heaven I guess would be someplace where you can live in saftey and spend that money you stole. But he is on the road to hell and there's no u turn. He's had to fingers plugged off by hedge clippers and the rest of the hand waiting for its turn if he gets caught by some Vegas thugs. His car breaks down somewhere in Hell and things go from bad to worse. The film is somewhat plot driven. The characters have to go with the plot which is sad, because these are marvolous characters and actors. Stone's film tech is great and he makes a graphic visual display, but the plot is somewhat small and weak. Lopez plays the vixen who is beyond twisted after surviving what seems to be a horrific life. Borderline behavior to the max, no trust is branded on her forehead. Penn just keeps bouncing up after being delivered through worse and worse scenarios of bad luck, as I said plot driven characters. Oh well, the acting and the direction push this up to a 4 star, overall its worth viewing because it is so wigged out.

Lisa Nary

A feast for vultures
Small time hood, played with fidelity by Sean Penn, blows a hole in the water hose of his 1964 and a half red Mustang out in the desert and has to limp into Superior, Arizona, pop. about 100, temp 100-plus. He shoulda made a u-turn. He's already lost two fingers because he wasn't able to pay some dudes the $13,000 he owned them, but now he has the cash in his backpack. Next problem (number two) getting his car fixed by Darrell's other brother Darrell, an inbred hick mechanic from hell, played chillingly by Billy Bob Thornton. This guy you won't forget. Problem number three, a muy caliente Apache babe (Jennifer Lopez) who starts to play with more than his mind. Problem number four, her husband, (a lecherous and morally corrupt Nick Nolte) who wants him to kill her. Problem number four and a half is a blind Indian shaman (Jon Voight, believe it or not) who plays with his soul.

All this is tolerable, but as he's getting a soda in the local groceria, it's robbed and they take his backpack with all the money in it. The senora who is robbed recovers in time to shot the robber with the backpack in the back with a shotgun. Only problem is number five, the buckshot blows Penn's money to smithereens (nice touch), and he is now flat broke and can't pay the $150 to get his Mustang back on the road. Problem number six, a small town tart (Claire Danes) cozies up to him to get her macho boy friend jealous enough to want to beat our boy to a pulp. Problem number seven, in his desperation to get enough money to blow town, our hero calls his main creditor and tells him where he is (seems dumb). His creditor wants more than the other three fingers. Problem number eight...

Well, I didn't take notes, so I'm losing track. But trust me, he's got more troubles to come.

This is in some ways an amazing film. It's part Clint Eastwood western, where there are no good guys, and part urban thriller, where you never know who is double crossing whom (but take a hint, they all are) or what is going to happen next. The atmosphere is compelling, all hangs together well, and we have something close to a film noire masterpiece until the scene on the cliff where our hero is supposed to push her off. Juggling the psychology in the film with the psychology he's working on the audience, Oliver Stone loses his grip and everything goes to ill-logic and blood and bodies. Hey, it's tough to concentrate through a whole stinkin' movie, even if you are Oliver Stone! Nonetheless there are so many striking images and clever scenes and so much original movie shtick here that I give you a Kmart guarantee you'll be entertained.

Guilty, gritty pleasure
Sunday, April 18, 2004 / 4 of 5 / Guilty, gritty pleasure. Admittedly, U-Turn is a guilty, gritty pleasure. It's one of those movies that has a compelling but amoral anti-hero protagonist, much like another in this genre, 'Romeo is Bleeding'. Like that film, we witness the disintegration, physical and mental of the main character whose vices have finally caught up with him with a vengeance. Oliver Stone's splice and hack techniques work wonderfully and the amazingly strong cast seems to be having a ball with the seedy story. Sean Penn is Bobby on his way to pay off gambling debts after having his two fingers cut off by Russian gangsters. His 64 Mustang blows a radiator hose in the podunk town of Superior, AZ. While there he gets rolled, loses his cash, endures further physical abuse and is tempted to kill numerous people, from J-Lo, to Billy Bob Thornton, to Nick Nolte, to Joaquin Phoenix. The interactions are comical in their depravity, this film really straddles genres, flowing from noir to black comedy and back. No one trusts anyone and incredibly you feel sorry for Bobby as the film reaches its crescendo. The more I think of it, the more it conceptually mirrors Romeo is Bleeding with Penn and Oldman's weak, amoral central characters at the mercy of the strong females in J-Lo and Lena Olin. I think it's good for a viewing ever so often, more would be too exhausting and make one feel a bit too dirty. Recommended.

"Your lies are old, but you tell them well."
Oliver Stone crawls through Quentin Tarentino's home turf here in this adaptation of John Ridley's Stray Dogs--it's as black and violent as a film can be, sort of Pulp Fiction meets Reservoir Dogs in the heat. Brilliant casting makes U Turn sizzle like roadkill on an Arizona blacktop. Sean Penn, Jennifer Lopez. Billy Bob Thornton, and Nick Nolte dig right to the heart of human darkness, and an absolutely unrecognizable Jon Voight appears as the blind Indian wise man who is likely none of those things. Surely many viewers will find the level of violence and the completely depraved characters unappealing at best--my wife walked away less than halfway through. But I was riveted by the story, the characters, the action, and the stylistic approach Stone takes, with heavy use of filters and quick cuts to ravens, bleached skulls, setting suns, old photographs, and the like. That approach and the eerie score by Ennio Morricone also reminded me of David Lynch's Twin Peaks. It's surely not a movie for the mainstream, but I'm glad I saw it.

This film dominates
U-turn is classic. Toward the end of his career Stone is only getting better. It easyly holds its own with Pulp Fiction and alike. Use of the old western composer Moriconne was genuis. Why more people dont like this film is a mystery, i guess some people can't handle it.
True pimps know that it dominates ... Read more

Reviews (205)

Any Given Sunday
This was truly an excellent film. This movie is Oliver Stone's best since Platoon. The fast-moving and dizzying cinemaphotography fits the high adrenaline atmosphere of the professional football world well. The film is also perfectly cast. Pacino gives life to the head coach, and Cameron Diaz's clearly most intense role as the team's owner is believeable. James Woods gives an excellent performance as the team doctor, who doesn't really seem to care about anyone but himself. Jamie Foxx has a breakthrough dramatic role as the new hotshot quarterback, whose ritualistic vomiting adds humor to the movie. With his performance, we find out Foxx really can act. LL Cool J, also puts through a convincing performance as the team's running back. Dennis Quaid doesn't really do much as the former QB with injury problems except help to develop Pacino's character. An outstanding cast, that features Charlton Heston as the football comissioner, and Ann-Margaret as Cameron Diaz's alcoholic mother. Former pro football players Jim Brown and Lawrence Taylor pop up as members of the team. I recommend it highly. This is possibly the best sports movie ever made.

War games.
Oliver Stone's cinematic obsession with portrayting American culture as a Vietnam battleground continues with this exhausting study of their national sport.

Once again abandoning the traditional story-telling conventions in favour of flashy cutting, trippy camerawork and a barrage of electic musical snippets, this is a game of two halves. Although the hour or so of in-your-face American football footage is hypnotic, thrilling, scary and technically astounding, the off-field conflicts offer the same old tired sports cliches, albeit with big names and Stone's eccentric camerawork.

The first half hour of the film is almost a mini masterpiece. Sticking the audience smack in the middle of a ferocious game of American footbal, he brilliantly orchestrates frenetic, muddy, bloody, bone-crunching MTV visuals in a Natural Born Killers vein, and introduces the stressed protagonists. There's explosive coach Tony D'Amato (Al Pacino), cynical owner Christina Pagniacci (Cameron Diaz), dedicated star player 'Cap' Rooney (Dennis Quaid) and self-important star player to-be Willie Beaman (Jamie Foxx). When Rooney receives a major injury, Beaman is thrust into the spotlight and begins to show his potential. As his quarterback skills improve and the team seems destined for a play-off place, his arrogant disregard for the rest of the team causes majoy ructions. Meanwhile, Tony and Christina's major hate-hate relationship worsens.

There's a handful of other subplots too, which you could probably write yourself and the fine supporting cast - James Woods, Matthew Modine and Aaron Eckhart - are criminally underused. The behind-the-scenes drama is decently performed, but it seems so flat and pedestrian compared to the explosive games, that you find yourself willing on the next touchdown. Pacino is energetic as usual, even if he is in shouty auto-pilot, Foxx is almost Oscar-worthy in a memorable performance, and Diaz is pretty amazing, it is good to see the actress playing different roles, as her character, Christina Pagniacci is a cold-hearted bitchy business woman, and Diaz usally plays blonde sweet-hearts.

It would seem that the character-and-plot driven days of Platoon and Born on the Fourth of July are long gone for Oliver Stone. Pushing the technical envelope is an alright decision, but it is about time Stone varied his game a little.

About more than just the game
I'm not a football fan. In fact all I know about the game is that there is a ball that must be moved from one end of a rectangular field to the other. Stone decided to draw parallels between this modern game and the gladiators in Ancient Rome. The suggestions were anything but subtle, what with the grunting, clashing sounds, the numerous shots of Ben Hur and the actual references in the film you couldn't help but notice.

Although this movie is ostensibly about football, I came away from it learning a bit more about life. The movie is about an old coach (Al Pacino) whose love of the game has blinded him to life's real pleasures, an injured QB (Quaid) who is easily manipulated by others to continue playing even if it is detrimental to his health. The daughter (Diaz) of a dead football 'baron', who seeks to fulfill her father's lost hope for a son, and a rising star (Foxx) who is blind to everything but his own gratification. From these cast of characters Stone creates drama.

This movie is exciting even for those, like me, who aren't too interested in football. The game scenes seem more like gladiatorial battles than actual football games, and you are left wondering if we have really changed from those Romans thousands of years ago, the way 'we' love these slugfests.

As some earlier reviewers mentioned, Stone appears to be slightly biased in his portrayal of the management of these teams. They are definitely out to make money, but I doubt they are as ruthless as they were made out to be. He should have had some perspective in this movie so as not to make it seem like the management were the 'baddies' and the players hapless pawns.

Overall, this was a great movie. I'd recommend it to anyone who likes drama. For those with kids, you might want to watch it beforehand as it has some sexual scenes, nudity and quite a lot of obscene language.

Not quite there, but entertaining.
In Oliver Stone's Any Given Sunday, the audience gets hit by cliches as fast and as hard as the fictional Miami Sharks' quarterbacks get hit by other players during the film's opening game. The audience also get hit hard by the (overly) kinetic editing, both of the film and of the mish-mash adrenaline pumper of a soundtrack, featuring an assortment of rock, rap, and techno beats. Stone and co-writer John Logan push (overly) to get us to buy into their vision of the NFL as a modern gladiatorial arena, and frankly, it doesn't always work; Logan would later get his gladiator fix by co-writing Ridley Scott's crowd-pleaser, well, Gladiator. Still, Logan and Stone manage to score some points with their (overly) broad script which tries to give us an all-encompassing view of modern professional football. Inevitably, it proves too much, and the writing just proves too wide in scope to create a balanced and clear film, though it does have its shining moments, such as when Coach D'Amato (Al Pacino) has comments on the (overly) commercial persona the NFL has adopted, or when Cameron Diaz's character's mother describes the "tragedy" that is her daughter.

Pacino, completely at ease in an Stone flick, gives his first real performance in a long time. Both in his in-game frenzy and in his drunken, sadder scenes, Pacino delivers the goods. Comedian Jamie Foxx also turns in a winning dramatic performance as the rookie quarterback. Come to think of it, the whole cast is stellar and all perform well. Stone seems to bring out strong, almost flamboyant, performances in his actors, and in Oliver Stone films, that's very appropriate. However, the MTV-inspired soundtrack and cinematography detract from the serious delivery of some of the film's concepts. At times, the film seemed more an extended music video than anything else.

Any Given Sunday is a rough movie, both in terms production and in content. The film, despite its lengthy runtime, still feels like it left much of its ideas unsaid; the script just tries too cover simply too many characters and concepts, leaving many of the key players in a somewhat shallow and cardboard like state. Still, Any Given Sunday is an entertaining movie, and fans of football, Oliver Stone, and movies overloaded with dizzying amounts of music and testosterone will no doubt be pleased by the time the credits roll.

MOST REALISTIC SPORTS MOVIE EVER
Among Oliver Stone's work includes "Any Given Sunday" (1999), as good and realistic a sports movie as has ever been made. It features an over-the-top performance by Al Pacino as a veteran pro football coach who can still motivate his over-paid, over-sexed, over-drugged, slightly thuggish, mostly black (except for a few White Aryan Brotherhood linemen) mercenaries with a speech that sends Knute Rockne to the bench.
He reportedly is working on the story of the 1934 Republican industrialists who recruited Marine hero Smedley Butler to overthrow Franklin Roosevelt, which was the genesis of "Seven Days in May". We are still waiting for Tinsel Town to take on Kennedy stealing the 1960 election. It could be a long wait. If any producers are reading this, I am offering my services at the Writers Guild minimum. ... Read more

Reviews (299)

Violence as a media event
"Natural Born Killers" is not about glorifying violence; it's a chilling parody of the American fascination with violence. The quick changes from color to black and white and back again, interspersed with animated sequences, point up the satiric nature of the movie. Mickey and Mallory, very well played by Woody Harrelson and Juliette Lewis, are two killing machines without heart or soul or conscience; their only redeeming virtues are their love for each other. They aren't meant to be sympathetic characters and they're not, but Oliver Stone's direction makes them pale in depravity besides some of the other characters -- the sadistic warden, the despicable detective and his morbid fascination with Mallory, Mallory's nauseating, sexually abusive father, and above all, Robert Downey's superb characterization of the media pimp who feeds off blood and gore. The last scene in the movie, of Mickey and Mallory on the road with their two children, and Mallory about to deliver a third at any minute, underscores the whole message of the film; violence feeds on itself and begets yet more violence. Those viewers who were most upset by the movie missed its message. "Natural Born Killers" is a brilliant, disturbing depiction of the shallowness of American culture at the end of the 20th century.

Wow. Truly brilliant film making.
When i first saw this movie i thought it sucked. but i watched it again a few years later and saw how amazing it was. Oliver Stone is a brilliant director. this film is one of the top 5 most well directed films of all time. lots of different camera tricks and stuff make this film great on a visual level. This is a satire on the media and it works brilliantly. it shows how the media cant be trusted and exploits people like Mickey and Mallory to make money by presenting them as heroes. lots of good scenes illustrate this. i love the scene where they are walking down the corridor to escape from the riot. also this film is actually kind off funny in a weird way sort of like " A Clockwork Orange" was kind of funny. dark humor but still funny. Great performances especially Tommy Lee Jones who really was impressive and funny in his role as the psycotic warden. dont judge this movie unless you actually watch it!

"In the media circus of life, they were the main attraction"
This true masterpiece directed by acclaimed director and writer, Oliver Stone, is avant-garde filmaking at its breaking point. The whole theme of Natural Born Killers is that the media is obsessive over violence and brutality; therefore, the extreme violence in the movie is used as a satire, not as entertainment. Definitely one of the most controversial movies ever released, especially in the 1990s when the Simpson trial, Rodney King, and the Menendez brothers became celebrity darlings because of the mass media and not because of anything credible. The acting by all the leads, especially Woody Harrelson and Juliette Lewis, is amazing. Their true love is another theme that proves vital in Natural Born Killers. It is the one and only thing that can hold people together when faced with such things as violence and a tormented childhood. The actual violence portrayed is not even that graphic