(The performances are faultless to a man, but a terrifically zen Jim Caviezel and a perpetually enraged Nick Nolte take the prize.) Merry Christmas, Mr. Lawrence is a quiet film, unhurried and rarely manic: Long shots wander over barracks full of dirty, downtrodden and sometimes destroyed prisoners, but always Oshima finds his way back to the saint-like Bowie, who skirts the line between wit and tragedy, mean-mugging while the camera laps up his every microgesture. —Brogan Morris, A tale of two wars in Ken Loach’s Palme d’Or winning The Wind That Shakes the Barley, an Irish counterpart to Loach’s own Land and Freedom. The soon-to-be abdicated Emperor, child-like, responds to requests for poses by putting on a Chaplin-esque show. —Brogan Morris, According to John Wayne’s third wife, after he missed service in WWII (something that regular collaborator and WWII veteran John Ford would subsequently berate the actor for on their sets), Wayne became a “super-patriot,” forever trying to atone for not volunteering. —Brogan Morris, Howard Hawks’ Academy-Award-winning Sergeant York, starring Gary Cooper, follows the story of a hell-raising conscientious objector who became one of the most decorated American soldiers of the Great War. The Guns of Navarone is an action movie that actually thrives on the strong performances from its three leads without resorting to meaningless explosions. Critics and audiences of the time shrugged, but on reflection the film today seems like a natty forerunner to Black Hawk Down, a no-nonsense, almost apolitical grunt’s-eye view of combat on alien soil. Christopher Plummer plays the Duke of Wellington as a smarmy aristo who enjoys war like a board game, while Rod Steiger is a Napoleon gone to seed, the former military golden boy now an overweight middle-aged man in failing health, showing signs of manic-depression and desperately clinging on to what power he has left as Emperor. —Brogan Morris, A perfect meeting of story and style, Gillo Pontecorvo’s guerrilla warfare drama The Battle of Algiers reflects in its grainy docu-style the scrappy tactics of the combatants: the revolutionary Algerian National Liberation Front, executing police and civilians in cafes and in the streets, and the French governors and counter-insurgents, struggling to combat a threat to their existence in a land they rule but don’t fully understand. David Lean frequently clashed with his British cast members, especially Guinness. Like George Dzundza—here in the best shape of his career as the titular T-55’s grim commander—The Beast is lean and moody. But there are some war films that set out to try and re-create the vivid horrors of war as intensely as possible. —Andy Crump, Regarding the punishing lengths that some American airmen went to in the early days of WWII, Twelve O’Clock High is a disarmingly frank examination of combat shock. The antithesis to all that was thought to make a war movie in 1945, A Walk in the Sun’s speciality is inaction. As Wallis perfects his newfangled weapon, Wing Commander Guy Gibson (Richard Todd) trains a squadron to fly at suicidally low altitudes so they might drop Wallis’ payload on three crucial dams on the German Ruhr. But considering that that initial middle-Eastern conflict turned out to be mostly fought in the air and through media airwaves, how else to be true to Swofford’s wartime experience? Undoubtedly bleak, Salvador ends exactly as it should, with Boyle alone, adrift and powerless amidst the tide of forces he’ll never be able to grasp. —Andy Crump, Tarkovsky fan Jean-Paul Sartre observed that, for the prepubescent veteran of Ivan’s Childhood, the world has become “a hallucination.” It’s why we view the film through an oneiric lens: it’s the only way our boy hero can interpret his Russia in the midst of war. Through them it very nearly becomes a buddy movie, with the pair constantly nit-picking and bantering, but at the end of the day always reaffirming their friendship with a violin/cello jam. The film closes on a freezeframe of James Coburn’s Sgt. Overcoming the natural coolness of the monochrome image, the fierce heat of the desert is felt in its every frame, of bright sand-paved landscapes and sweating bodies. Only “movie” seems an inadequate description. —Maura McAndrew, Such was the impact of Lewis Milestone’s pacifistic WWI drama: when the film was first released, Variety wrote that the League of Nations should show it around the world “until the word ‘war’ is taken out of the dictionaries.” Not surprisingly, the fascist regimes of Germany and Italy banned the movie—they feared the influence of its anti-war message, and, almost 90 years on, the pulverizing power of the film is obvious. —Brogan Morris, More or less, every film Mel Gibson has made as a director from Braveheart onwards has been a Christian parable with splatter, each one (particularly, obviously, The Passion of the Christ) about a common Chosen One offering himself as a sacrifice for the good of mankind. Being forced to kill another human will collapse their soul. And some of Rachel’s fellow resistance fighters are anti-Semitic themselves. Lawrence in the Arabian Peninsula in WWI. —Brogan Morris, Filming the 2,000-page, 14th-century Chinese novel Romance of the Three Kingdoms is a bit like trying to tell all of Shakespeare’s Henry plays in one movie. The evergreen County Cork period setting makes this one of Loach’s more aesthetically pleasing features, but the tale and the tone make it one of his more heart-wrenching and fatalistic. Instead of focusing on the obvious North vs. South binary, Glory follows the men as they struggle against Northern racism and their own perceptions of what it means to be black, and what it means to be black in an army where they are almost never seen as equals—despite fighting on the same “side” as their white counterparts. War is always an ugly affair, but Kurosawa’s vision renders it maddening and ghoulish in ways most war films simply don’t. The beauty of Frankenheimer’s film is that it manages to sneak in such humanistic undercurrents within the confines of an electrifying action thriller, all the way to a final confrontation that leaves a bitter aftertaste even as the “right” party emerges victorious. Story-wise, the liberties taken with the actual events surrounding Scotland’s war for independence do probably make for a more compelling movie—the real William Wallace living in exile in France for years following the Battle of Stirling before his execution would be a tough sell on the big screen. True, its source work, Alistair MacLean’s 1957 novel of the same name, was inspired by the Battle of Leros during World War II, but J. Lee Thompson’s film feels like its own beast, beholden to neither MacLean’s novel nor the war itself. The result was an abstract and relentlessly contemplative epic, awash with gorgeous cutaways to jungle and beast, and—atypically for a filmmaker whose main fixation has always been the environment his characters reside in—chock-full of great acting. —Brogan Morris, No exception to the rule that all tank movies must take their crews on gruesome existential journeys, The Beast is an ’80s studio film with a harsh, reflective heart. What sets Air Force apart and keeps it vital is the way it keenly puts the viewer in the place of a U.S. airman, despite it being an almost entirely studio-bound enterprise. Another great film centered around World War II. —Dom Sinacola, Flanked as it was by two mega hit Vietnam movies—Oliver Stone’s Oscar darling Platoon and Stanley Kubrick’s acclaimed Full Metal Jacket—1987’s Hamburger Hill had a hard time making an impact. Every year, many war movies are produced, but some of them become evergreen, we have made sure to choose only THE BEST war movies for you. It has realistically clumsy action and painterly scenery, but a major part of the appeal of Devil is that it takes a complicated view of a mythologized war and its combatants. This tense World War II thriller featured an all-star cast of Gregory Peck, David Niven and Anthony Quinn as members of an Allied commando team tasked with the impossible mission of destroying giant Nazi cannons standing sentry over a strategic channel in the Aegean Sea. Whether they’re viewing the remains of a recently besieged town or the screaming, de-limbed torso of a Lebanese civilian whose truck they’ve just shelled, the crew remains always at a curious distance from the conflict. The “why” of the war at ground level matters little to the mostly poor (and disproportionately black) conscripts who make up the American side; as in Black Hawk, the chief concern in the heat of the moment is kill or be killed. War movies are as old as cinema itself. Based on the true story of one escalating firefight—that which emerged when the American plan to capture warlord Mohamed Farrah Aidid in 1993 went awry—Black Hawk Down allows Scott to focus in beautifully rendered detail on what happens when the cold, regimented modern military machine of the West meets a multitudinous foreign enemy on home turf. Seven eager chums eventually get their wish when Hitler’s Total War drafts them into a desperate endgame, the noble adventure continuing in the boy-soldiers’ brainwashed minds even as the rest of the German army retreats around them. British soldiers and Irish rebels, having dehumanized the other side, torture and kill with glee, while later the anti-treaty IRA (represented by Cillian Murphy and Liam Cunningham, incredible) and pro-treaty Irish Army having come so far kill their own countrymen in absolutist determination. Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon Movie News India Movie Spotlight. Nevertheless, the film is tremendously entertaining in its depiction of gladiatorial bouts, large scale battles, and political intrigue, as well as the grisly fate of the rebels. Kelly carry out the robbery of Nazi gold inside enemy territory. LiveAbout uses cookies to provide you with a great user experience. Dirty Dozen cast member-turned-writer/director Stuart Cooper fills the budget-necessitated holes of British WWII drama Overlord with copious archive footage, to tell the story of a Brit draftee named Tommy (what else?). All the while the German command in Holland, in a strand of black comedy, repeatedly insist the Allies must have secret plans up their sleeve, because they couldn’t possibly be dumb or reckless enough to be attempting what they appear to be. Few films have ever tried to say and be so much, and succeeded in saying and doing it all with such panache, lightness and wit. The former is a story of the soldier in victory, with the scrappy July 26th Movement winning clashes against government forces, while the latter—originally a Terrence Malick project—is a treatise on death, a grim tale of idealism broken on the dusty slopes of Bolivia, as Guevara and an ever-dwindling band of combatants are picked off by CIA-backed anti-insurgency troops. It’s a child’s afternoon playing with their toy soldiers come to life, with all the disposable baddies, indomitable mission commanders (played by Richard Burton and Clint Eastwood, both practically glowing with star power), gobsmacking twists and intricate set-pieces one could dream of. —Brogan Morris, Movies about the American Civil War and Russian revolution abound, but precious few have been made about the Spanish Civil War, a precursor conflict to WWII in which almost half a million were killed in little over two years. There are unpredictable, camera-shuddering firefights; there are excruciating trips through a minefield; there’s the growing tension of a responsibility-averse corporal (Richard Basehart) falling up the chain of command as his superiors are offed one by one by the enemy. All Quiet on the Western Front is ferocious, a Pre-Code deglamorization of war that, some nine decades ago, arguably made the final point on the profound horror of the trenches. Once it enters the Pacific Theater, and Doss’ regiment sets up camp on the heavily fortified Okinawa, Hacksaw Ridge is all Sturm und Drang, a visceral depiction of war like no other. —Brogan Morris, Three Kings is a war movie which, as it goes along, attempts to figure out what a war movie even is anymore. The film takes great pleasure in old ways: it luxuriates in the myths and salty humor of Georgian mariners, gets swept up in the pre-WWI mentality of war as a flag-waving lark and, in a brief excursion to the Galapagos Islands, pines for the days of analog exploration. With courageous sincerity, Evening Bell expresses the scars left by war. The Dam Busters belongs to a class of British film that no longer exists—straitlaced yet charming, formal yet with bursts of cinematic invention, epic in scope yet intimately felt. Clint Eastwood and Richard Burton share top billing in this high-octane action thriller about a team of Allied special forces given the impossible task of infiltrating an impenetrable Nazi fortress in order to rescue a captured American general (Robert Beatty). All sense of time and geography is lost: it’s just mysterious bodies, wading in perpetual night through a river of shit. In its own way, York tells us what soldiers have always known: the war is also fought within, as well as without. An orphan whose family was executed by the Germans, a former Partisan and now a scout for the Soviet army, Ivan is coddled by the other soldiers in his unit, but they hope to nurture innocence in a child already made preternaturally old by war. Directed by the master of epic movies David Lean, The Bridge on the River Kwai ranks as one of the greatest movies ever made and contains one of Alec Guinness’ finest performances. This diverse collection of movies are worthy of being called the 100 greatest war movies ever made. Meanwhile, the military sends a burned out army captain (Martin Sheen) to go upriver to “exterminate” Kurtz “with extreme prejudice,” leading to his own brush with madness. —Brogan Morris, As much about memory’s hallucinatory inventions as the facts of the 1982 massacre at a Palestinian refugee camp in Beirut by the so-called Phalangist Christian militia, Ari Folman’s animated Waltz with Bashir begins with 26 barking dogs rushing through a city—from there, the emotion builds, relentlessly. —Brogan Morris, Even now, it’s startling to watch Robert Altman’s 1970 farce in light of the long-running CBS television sitcom it inspired. Written by John Huston and directed by Howard Hawks, Sergeant York features Cooper in his finest performance and was a major box office hit. It’s typically didactic stuff from Loach, who extolls the virtues of socialism while laboring the (fairly obvious) point that fascism and Stalinism are Bad, but the film leaves behind it the evocative whiff of melancholy, for all the hopefuls who find their idealism might not belong in such a complex world. —Brogan Morris, It seems unbelievable now that even an auteur as legendary as Terrence Malick actually secured financing to make poetry on the scale of The Thin Red Line. The film proudly displays its assets in breathtaking widescreen during its chaotic, almost hour-long battle sequence, but still somehow manages to strike a balance between opulent war movie and double character study of two legendary figures. Post-war dramas, like Ashes and Diamonds and Germany, Year Zero, as well as films that go to war for only a fraction of the running time, such as From Here to Eternity and Born on the Fourth of July, were also excluded. War. —Stephen M. Deusner, Despite a laundry list of historic “alternative facts,” Mel Gibson’s 1995 Oscar-winning medieval war epic is, unquestionably, one thoroughly stirring cinematic effort. And still, Boyle wanders the increasingly war-scarred country, like Max von Sydow in The Seventh Seal, finding nothing but pain and violence bereft of meaning, but committed to a duty: to capture what was going on, or simply to satisfy the same degree of American-bred ego that Stone was condemning in trying to witness such atrocities at all. Apocalypse Now sears, sickens and scars; it’s a film that brands itself in our memories as only the grimmest displays of human depravity truly can. As the situation of Marvin and Mifune’s unnamed pair becomes desperate, their hair growing wild and their clothes increasingly ragged, and they come to rely on one another to survive (without ever breaching the language barrier, and there are no subtitles to aid us either), Boorman emphasizes that the two soldiers’ initial shared disdain is based only on the fact that they occupy two artificially different “sides” of a conflict. —Brogan Morris, You’d be forgiven for thinking that Andre De Toth’s Play Dirty would be nothing more than a fruitless cash-in attempt on Robert Aldrich’s classic The Dirty Dozen, released the year before. One must prepare not just for the epic length, but for the film’s relentless assault on the notion of human goodness, by the end obliterated by a mountain of evidence to the contrary as experienced by one man. It’s WWII through the eyes of a hyperactive child: to Jamie (Christian Bale, at 13 giving one of his very best performances), freed from his upper-crust English bubble when Japanese forces invade his Shanghai home and throw him in an internment camp, wartime is a playground. Presumably they disliked the harsh tone and wretched violence, as well as the moral gray zone that the film proudly resides in, wherein a Russian who fought for the Nazis under duress might be deserving of and ultimately earn redemption by rejoining the anti-German partisans—all the elements that make Trial on the Road so memorable. If the film innately sanctions war by depiction, it does not sanction war’s impact on the humanity of its participants. Pretty solidly a superstar by this point and already flush with acting experience, Bowie plays Major Jack Celliers, an impudent British officer captured by the Japanese during the thick of World War II and sent to a POW camp on Java overseen by Captain Yanoi (Ryuichi Sakamoto, a legendary musician in his own right, who also provides the film’s searing neon score). Jupiter Sharts). Whether conveying the heroic acts of soldiers or showing the harsh realities of battle, war movies have long been a staple of Hollywood. With enemy tribes freely roaming the borderless desert landscape and morally lax hired guns positioned as the “heroes,” Play Dirty can feel closer to a western than a war movie—and one of Peckinpah’s at that. And make no mistake, the war movie is almost always about men. And so we ask ourselves: will our actions echo across the centuries? Steiner cackling, as Maximilian Schell’s hopeless officer and soon-to-be Iron Cross recipient in the middle of combat asks Steiner how to reload his own weapon, Russian forces swarming all around them. —Dom Sinacola, It’s a non-controversial opinion that Full Metal Jacket’s worth extends as far as its first half and declines from there as the film nosedives into conventionality. There’s a keening moral intelligence in Black Book that makes it as troubling as it is mightily entertaining. Aware of their slim chances of survival with the German army tightening its grip all the time, the remaining men and women of Lt. Zadra’s Home Army unit escape to the sewers, not because they think that offers much chance of survival, but because their instincts keep driving them to live, even if just for a few moments more. Things like that happen! Almost everything, from the dread-heavy score to the frighteningly dazed performance by Funakoshi (the actor reportedly ate so little in preparation that filming halted for two months while he recovered), tells us to abandon this savage epic. Labiche, on the other hand, is a classic taciturn brute who cares more about revenge than about the art that he’s ostensibly rescuing, and by extension the beauty they represent amid a world gone mad. —Amy Glynn, The Killing Fields is yet another love story set at a time of war, only this time it’s not two star-crossed romantics divided by conflict but two journalists, colleagues who form a rare bond against the backdrop of one of the grisliest scenes in modern history. Scenes set up in the sky are realized through a smart, seamless combination of claustrophobic studio work and archive footage, but most of the drama takes place on the ground, where, short on planes and men, the aim at Archbury airbase is to “take nice kids and fly em till they can’t take anymore.” The film conveys all the strangeness and anxiety of flying a winged steel tube into enemy territory to drop explosives, and praying to get lucky enough not to be blown out of the sky. Lena Stiffel. This is due mainly to Scotland itself; John Toll’s cinematography, capturing the lush high and lowlands of the country, is what truly makes Braveheart so memorable—especially juxtaposed against the utter brutality of melee combat. The film (a five-hour two-parter) may bear little resemblance to Woo’s previous work, but at its core it’s a magnification of his favorite ideas and themes, with bravery and cunning prized above all else, and the line between right and wrong sharply and deeply drawn. Forces worked as a well-oiled unit, but the film’s message doubles as a comment on man as a durable social animal, cooperating even in the harshest of circumstances in order to ensure survival of the tribe. It ends in a tragic collision that’s been referenced, parodied and studied for generations. —Dom Sinacola, A harrowing descent into a modern-day heart of darkness, Beasts of No Nation channels Francis Ford Coppola’s Vietnam epic Apocalypse Now for its tale of one child’s recruitment into an African rebel battalion. A collection of sensational war stories mixed in with Fuller’s own experiences as an infantryman for the 1st Infantry Division, The Big Red One is an intimate sort of epic, taking us from Africa to Italy, from France to Belgium, from Germany to Czechoslovakia, but always keeping the focus narrowed to Lee Marvin’s grizzled sergeant and his four most loyal dogfaces (including Mark Hamill and Robert Carradine, as Fuller’s stand-in). It’s the most masculine of genres, the fact that armies have throughout history often been almost exclusively male seeing to it that men almost always dominate these things. Slow and surreal, The Sun is less accessible than its German counterpart, though it matches Hirschbiegel’s film for the quality of leading man. All Rights Reserved. They don’t all make it, but they sure make you feel invested in their plan. —Brogan Morris, Unlike so many Civil War movies taken from the Confederate side (see Gettysburg from six years prior, or Anthony Minghella’s Cold Mountain, which arrived four years later), Ride with the Devil doesn’t shy away from the racial factor which played such a crucial part. A coming-of-age saga twisted into unholy form, Beasts of No Nation eschews undue melodramatic manipulations (and avoids romanticizing its perversions) in charting Agu’s maturation into a pitiless soldier. Once again, the initial purity of the revolution gives way to the reality of complicated regional politics, opportunistic power grabbing and divisions of opinion, the “successful” Irish independence struggle immediately segueing into the 1922 – ’23 Civil War that pitched formerly united friends and family against one another. Michael Anderson’s very English war movie The Dam Busters spends most of its 124 minutes on the homefront, but each second is dedicated, as the inventor of the bouncing bomb Barnes Wallis’ (Michael Redgrave) every waking moment was, to the painstaking preparation and fine-tuning that would ensure mission success. The entertainment instead comes from jocular exchanges about home or inedible military chow that the men of the 36th Infantry, like Lloyd Bridges’ affable Sgt. Fury is one of the most brutal war movies to come out of the studio system, proven in its shocking violence (heads are disappeared by tank shells, German prisoners are beaten until they’re no longer visibly human) but perhaps best exemplified by its quietest scene: the veterans of the Fury, all to varying degrees struggling with PTSD in a time when nobody really understood what that was, regale to newcomer Logan Lerman a story of D-Day horror over dinner. The asceticism (lone figures and structures are flanked by endless snow, the white stretching on like a frozen desert) and Shepitko’s extreme close-ups on alternately serene and anguished faces, bringing to mind Dreyer’s The Passion of Joan of Arc, add up to an experience that feels almost religious. In the wake of its relatively recent re-evaluation, Army of Shadows stands, along with Robert Bresson’s A Man Escaped and Louis Malle’s Lacombe, Lucien as one of the defining films about the French resistance. Scott famously refused the Oscar on the grounds that he wasn’t in competition with other actors – a perfect compliment to the iconoclastic character he portrayed. Even though fate was lined squarely against him, Coppola’s extraordinary will – some might call it megalomania – saw production through to completion, resulting in one of the great masterpieces of the decade. John Frankenheimer’s 1964 action film pits Nazi Col. Franz von Waldheim (Paul Scofield) against French Resistance fighter Paul Labiche (Burt Lancaster) as the latter attempts to thwart the former’s efforts to sneak into Germany a collection of paintings stolen from a French art museum. —Andy Crump, © 2021 Paste Media Group. And so a filmmaker so closely associated with American stories made one of the great Japanese war movies, closer to meditative Japanese cinema than to his own usual style, and near entrancing in its depiction of soldiers ritualistically preparing for an invasion they know will end in their deaths. —Brogan Morris, Despite its overwhelming scale, the economy of Saving Private Ryan is an astounding accomplishment of storytelling. But then it probably shouldn ’ t all make it, but Cooper chooses perfect. And multi-dimensional Woo ’ s last days is hard to turn away from a monument, sensation... Combat, survival and escape, camaraderie between soldiers, sacrifice, film..., retitled Red Cliff, all the more impressive s grim commander—The Beast is Lean moody... Its gunsight Czechoslovakian army-in-exile, Josef Gabčík ( Cillian Murphy ) and Jan (! Staple of Hollywood at one point Lean fell into the river and narrowly Escaped drowning but it... 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