Based on Anthony Swofford's excellent memoir about his experiences as a Marine Sniper in Gulf War I, Jarhead is a war movie in which the waiting is a far greater factor upon the characters than the war itself, and the build up to combat is more drama than what combat is depicted. To some viewers hoping for typical movie action, this will seem like a cruel joke. But it's not. It's just the story as it was written, and if you liked the book, you will probably like the movie. If you didn't, then the movie won't change your mind. The movie follows the trajectory of Swofford (played with thoughtful intensity by Jake Gyllenhaal) from wayward Marine recruit (he joined because he "got lost on the way to college") to skilled Marine sniper, and on into the desert in preparation for the attack on Iraq. No-nonsense, Marine-for-life Staff Sgt. Sykes (Jamie Foxx), the man who recruited Swofford and his spotter Troy (Peter Sarsgaard) into the sniper team, leads them in training, and in waiting where their lives are dominated by endless tension, pointless exercises in absurdity (like playing football in the scorching heat of the desert in their gas masks so it will look better for the media's TV cameras), more training, and constant anticipation of the moment to come when they'll finally get to kill. When the war does come, it moves too fast for Swofford's sniper team, and the one chance they get at a kill-to do the one thing they've trained so hard and waited so long for-eludes them, leaving them to wonder what was the point of all they had endured. As directed by Sam Mendes (American Beauty), the movie remains very loyal to the language and vision of the book, but it doesn't entirely work as the film needs something more than a literal translation to bring out its full potential. [+]

In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of Apocalypse Now as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story Heart of Darkness onto the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz (Marlon Brando), who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving wartime action on epic and intimate scales. One measure of the film's awesome visceral impact is the number of sequences, images, and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gun-ships on a Vietnamese village to the brutal murder of stowaways on a peasant sampan and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of "the smell of napalm in the morning". Like Herzog's Aguirre, The Wrath of God, this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola's obsession (effectively detailed in the riveting documentary Hearts of Darkness, directed by his wife, Eleanor) informs every scene and every frame, and the result is a film for the ages. -Jeff Shannon, Amazon. com.

In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of Apocalypse Now as if it was his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story "Heart of Darkness" into the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz(Marlon Brando), who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving war-time action on epic and intimate scales. One measure of the film's awesome visceral impact is the number of sequences, images and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gunships on a Vietnamese village to the brutal murder of stowaways and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of "the smell of napalm in the morning. " Like Herzog's Aguirre: The Wrath of God, this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola's obsession (effectively detailed in the riveting documentary Hearts of Darkness, directed by Coppola's wife, Eleanor) informs every scene and every frame, and the result is a film for the ages. -Jeff Shannon Following the example set by his old pals Steven Spielberg and George Lucas, Francis Ford Coppola has revisited a classic that no-one ever thought needed enhancement and produced Apocalypse Now Redux, a remastered and extended version of his hallucinogenic Vietnam nightmare that adds some 50 minutes of extra material. On the plus side, certain extended sequences-such as Kilgore's bombing-cum-surfing raid and the final battle of nerves between Martin Sheen and Marlon Brando-add greater depth to our appreciation of the film. On the debit side, the lengthy French plantation interlude and the squalid fate of the Playboy bunnies simply underscore what we already know about war and hell and the depressing futility of it all. [+]

One of the cinema's great disappearing acts came to a close with the release of The Thin Red Line in late 1998. Terrence Malick, the cryptic recluse who withdrew from Hollywood visibility after the release of his visually enthralling masterpiece Days of Heaven (1978), returned to the director's chair after a 20-year coffee break. Malick's comeback vehicle is a fascinating choice: a wide-ranging adaptation of a World War II novel (filmed once before, in 1964) by James Jones. The battle for Guadalcanal Island gives Malick an opportunity to explore nothing less than the nature of life, death, God, and courage. Let that be a warning to anyone expecting a conventional war flick; Malick proves himself quite capable of mounting an exciting action sequence, but he's just as likely to meander into pure philosophical noodling-or simply let the camera contemplate the first steps of a newly born tropical bird or the sinister skulk of a crocodile. This is not especially an actors' movie-some faces go by so quickly they barely register-but the standouts are bold: Nick Nolte as a career-minded colonel, Elias Koteas as a deeply spiritual captain who tries to protect his men, Ben Chaplin as a G. I. haunted by lyrical memories of his wife. The backbone of the film is the ongoing discussion between a wry sergeant (Sean Penn) and an ethereal, almost holy private newcomer (Jim Caviezel). The picture's sprawl may be a result of Malick's method of "finding" a film during shooting and editing, and in some ways The Thin Red Line seems vaguely, intriguingly incomplete. [+]

Wolfgang Petersen's harrowing and claustrophobic U-boat thriller Das Boot was released as both a theatrical film and a six-hour mini-series, and remains the most expensive production ever made by a German studio. The expanded "Director's Cut" of the movie was re-released 1997 and it is this version that is available for home viewing. This epic story became an instant classic on its first release, provoking critical and audience acclaim worldwide for its sympathetic and entirely truthful portrayal of a German U-boat crew. Faithfully adapted from the bestselling novel by Lothar-Günther Buchheim, Petersen and his committed cast (led by the amazing Jürgen Prochnow) were concerned to ensure that every detail was rendered with painstaking accuracy-both physical and psychological-and the result is not only the best submarine drama ever made but also arguably the finest cinematic portrait of men at war and the terrible madness they must endure. On the DVD: The 200-minute "Director's Cut" version of the movie not only has several major scenes restored that were not in the theatrical release but also has been digitally remastered with significantly improved sound (new sound effects have been added) and anamorphic picture. (The six-hour TV version has yet to be released. ) Here, the viewer can watch the movie in the original German, with or without subtitles, or in an English dubbed version that uses the voices of many of the original cast. On the utterly engrossing commentary track, director Wolfgang Petersen and star Jürgen Prochnow talk animatedly and in great detail about every aspect of making this epic story-from model shots using Barbie dolls to meeting the Captain of the original U-boat. This is one of the most consistently rewarding commentaries on disc. Also included is a five-minute featurette that promotes this new version. [+]

The Great Escape image of Steve McQueen (as "The Cooler King") astride his motorcycle has entered silver-screen iconography, alongside Brando on his bike from The Wild One. Based on a true story about a group of POWs who mount a daring breakout from a supposedly inescapable Nazi prison camp, this rousing and suspenseful World War II epic features an all-star cast, including James Garner, Richard Attenborough, Charles Bronson, Donald Pleasence, James Coburn, and David McCallum. -Jim Emerson A stirring example of courage and the indomitable human spirit, for many John Sturges' The Great Escape is both the definitive World War II drama and the nonpareil prison escape movie. Featuring an unequalled ensemble cast in a rivetingly authentic true-life scenario set to Elmer Bernstein's admirable music (who writes contrapuntal march themes these days?), this picture is both a template for subsequent action-adventure movies and one of the last glories of Golden Age Hollywood. Reunited with the director who made him a star in The Magnificent Seven Steve McQueen gives a career-defining performance as the laconic Hilts, the baseball-loving, motorbike-riding "Cooler King". The rest of the all-male Anglo-American cast-Dickie Attenborough, Donald Pleasance, James Garner, Charles Bronson, David McCallum, James Coburn and Gordon Jackson-make the most of their meaty roles (though you have to forgive Coburn his Australian accent). Closely based on Paul Brickhill's book, the various escape attempts, scrounging, forging and ferreting activities are authentically realised thanks also to the presence on set of technical advisor Wally Flood, one of the original tunnel-digging POWs. Sturges orchestrates the climactic mass break out with total conviction, giving us both high action and very poignant human drama. Without trivialising the grim reality, The Great Escape thrillingly celebrates the heroism of men who never gave up the fight. On the DVD: The Great Escape special edition is indeed a special event. [+]

A genuinely epic achievement, the 10-part World War II drama Band of Brothers is a television series that makes big-screen Hollywood war movies look small in comparison. Based on the book by historian Stephen Ambrose, the series follows the US 101st Airborne Division's "Easy" E-Company from initial training through D-Day and across Holland, Belgium, Germany and Austria until the end of the war. Coproduced by Steven Spielberg and Tom Hanks, the series take its initial inspiration from Saving Private Ryan and borrows that film's visceral visual approach to combat scenes using hand-held camerawork and de-saturated photography. But where Band of Brothers excels is in its scrupulous attention to the realities of military life (retired US Marine Captain Dale Dye, who also co-stars, is the man to credit). After the high drama of the parachute drop on D-Day, Easy's greatest trial comes during the Battle of the Bulge, when they are besieged at Bastogne in the depths of winter. In one of the most harrowing and credible depictions of war ever committed to film we see the men enduring the repeated artillery attacks of the German forces and experience, if only vicariously, some of the sheer terror of the assault, while being humbled by the soldiers' courage and determination. Such feelings are enhanced by the series' masterstroke-bookend interviews with the surviving members of Easy Company, who talk with barely suppressed emotion of the experiences we see recreated. The endorsement of these veterans elevates Band of Brothers beyond any mere "war film"-its extraordinary achievement is that it shows the horror and savagery of war without gloss or jingoism, and yet celebrates the fraternal bonds and dogged heroism of the men who fought. On the DVD: Band of Brothers arrives handsomely packaged in a six-disc commemorative tin, with disc 6 containing all the extras, the meatiest of which is the marvellous 80-minute documentary "We Stand Alone Together" about the real men of Easy Company. There's also a first-rate, genuinely interesting 30-minute "making of" feature about actor boot camp, visual effects and blowing up fake trees among many other things. [+]

James Mason plays Field Marshal Erwin Rommel in both The Desert Fox (1951) and The Desert Rats (1953), a WWII double-bill on DVD. The Desert Fox, released six years after the end of the War, is a solemnly respectful tribute to Erwin Rommel, Germany's most celebrated military genius. James Mason's portrayal of this gallant warrior became a highlight of his career iconography. The film itself is oddly disjointed, though: a pre-credit commando raid to liquidate Rommel is followed by a flashback to the field-marshal's lightning successes commanding the Afrika Korps-a compressed account via documentary footage and copious narration (spoken by Michael Rennie, who also dubs Desmond Young, the Rommel biographer and one-time British POW appearing briefly as himself). The dramatic core is Rommel's growing disenchantment with Hitler (Luther Adler), his involvement in the plot to assassinate the Fuhrer, and his subsequent martyrdom. The Desert Rats stars Richard Burton in only his second Hollywood role (between Oscar-nominated turns in My Cousin Rachel and The Robe), as a Scottish commando put in charge of a battalion of the 9th Australian Division defending Tobruk. The Aussies don't like him, and with a year of grim North African duty already under his belt, he's not too crazy about his new responsibilities either. The outfit is charged with staving off the battering assaults of Field Marshal Erwin Rommel for two months, to give the British Army time to regroup in Cairo and prepare for a counterattack. In the end, the "desert rats" play hell with the Desert Fox for 242 days, during which time they and their commander develop some mutual respect. This is a solid, workmanlike World War II picture that, having been made in 1953 rather than 1943, can acknowledge a degree of eccentric humanity and soldierly professionalism in the enemy. [+]

It's tempting to call the harrowing Stalingrad a World War II version of All Quiet on the Western Front, since both films take the perspective of ordinary German soldiers at ground level. Stalingrad surveys the misery of the battle of Stalingrad, the winter siege that cost the lives of almost one and a half million people-Russian defenders and German invaders alike. Not unlike Spielberg's approach to Saving Private Ryan, German director Joseph Vilsmaier rarely steps outside the action to comment on the higher purpose of the war, assuming the audience is aware of the evil of the Nazi regime. Instead, we simply follow a group of soldiers as they endure a series of gut-wrenching episodes, events that have the tang of authenticity and horror. Vilsmaier has a taste for symbolism and surreal touches, which only add to the unsettling sense of insanity this movie conjures up so well. -Robert Horton.

One of a series of revisionist Vietnam cinema released in the late 1980s, Stanley Kubrick's Full Metal Jacket is essentially split into two stories linked by a number of characters. The film follows new recruit Joker (Matthew Modine) and his fellow soldiers through their basic training and into combat in Vietnam. The first half is a chilling portrayal of military brutality and de-humanisation, mainly at the hands of Sgt Hartman (played at a level of staggering intensity by ex-Marine Lee Ermey), that centres around the tragic character of Private Pyle, a young man pushed to the edge of his endurance. The tone of the film is no less harsh when transported to the combat zone as we see the results of the training process in action: the young men turned into unquestioning killing machines. Joker is perhaps the one exception, a soldier with "Born to Kill" written on his helmet who also sports a peace sign on his lapel. But the film finds itself caught in the trap of many of the war movies of the time-how to create audience empathy with characters who are essentially in the wrong. It's a dilemma that Full Metal Jacket never really solves, although as a spectacle the film is a masterpiece. Made in the days before CGI became the norm, the battle sequences-filmed, rather bizarrely, in London's Docklands before its redevelopment-are hugely realistic and are perhaps the key moments of the movie, heightening the disorientation and fear felt by the soldiers. By offering no more than a snapshot of the Vietnam conflict (the action deals with one individual skirmish), Kubrick cleverly leaves any judgement on the war to the audience, although clearly attempting to influence them. The fate of the characters who survive is also left in the balance, but we can perhaps imagine what awaits them. [+]

Despite its flaws, The Good German is a welcome gift for every film lover who laments that "they don't make 'em like they used to. " Steven Soderbergh's affectionate, knowing tribute to the black-and-white melodramas of Hollywood's golden age may lack the emotional depth and romantic passion of Michael Curtiz's Casablanca-the 1946 classic it intentionally emulates-but as Soderbergh approximates Curtiz's studio style, he delivers a shimmering, shadowy reminder that movies can be enjoyed for the sheer pleasure of their craftsmanship. Once again serving as his own cinematographer (credited as "Peter Andrews"), Soderbergh went to great lengths to technically and aesthetically re-create the look and feel of a Curtiz production, and Joseph Kanon's source novel (adapted by Quiz Show screenwriter Paul Attanasio) provides a twisting plot set around the historical Potsdam conference in post-World War II Germany. An American military journalist, Capt. Jake Geismer (George Clooney) is in rubble-strewn Berlin to cover the event, and is quickly drawn into a murder plot involving his appointed driver (Tobey Maguire), an old flame-turned-wartime prostitute (Cate Blanchett) and her missing husband, a scientist who possesses pivotal secrets coveted by Americans and Russians in a pre-Cold War bid for power. Violence, sexual content, and salty dialogue make it clear that this drama is a brashly contemporary homage to films of a bygone era, and not a slavish attempt to copy the past. This yields mixed results in terms of the film's overall appeal; it's gorgeous to look at, but the plot and performances exist in a vacuum, and the entire film feels oddly disengaged from any sense of genuine human emotion. It's probably fair to say that Soderbergh had more fun making the film than most people will have watching it. And yet, as Clooney's character is repeatedly beaten and deceived on his path to cynical enlightenment, The Good German has many qualities that make it recommendable, not the least being the pleasure of following a talented director as he indulges his penchant for bold experimentation. -Jeff Shannon.