#warfilms

[savage-kult-of-gorthaur]

"THE DICTATORSHIP OF THE TRUTH" MEETS THE UNREST OF 1950s ALGERIA.

FILM: "The Battle of Algiers" (1966) -

CINEMATOGRAPHY: Marcello Gatti

DIRECTOR: Gillo Pontecorvo

SCREENPLAY: Franco Solinas

EDWARD SAID (Film Society of the Lincoln Center): "When you made the film, the Algerian revolution had already won. Did you want to tell both sides of the story or were you mainly interested in telling the Algerian side? What was your feeling about portraying this historical process?

GILLO PONTECORVO (Italian writer/film director): "I was mainly interested in showing this unstoppable process of liberation, not only in Algeria, but throughout the entire world. Naturally, in dealing with such a dramatic history, you must show how difficult the situation is for both sides."

Sources: X (formerly Twitter), MUBI, Ritz Cinemas, Global Bar Magazine, The New Arab, various, etc...

[giuthesoldier]

Danny and Rafe✨

[eazilaif]

MOVIE: Oppenheimer

>> Watch The Full Movie:

[passion-of-arts]

GUY RITCHIE’S THE COVENANT – FILMKRITIK

Seit dem Wochenende ist “Guy Ritchie’s The Covenant” mit Jake Gyllenhaal auf Prime Video verfügbar. Ich habe mir bereits ein Bild von dem Film gemacht und liefere euch heute meine Filmkritik zu Guy Ritschie’s neuestem Werk.

[regentstreetcinema]

Need to brush up on your Best Picture contenders? We've got you. All Quiet On The Western Front is one of the nominated films we're showing this week, with all tickets just £6.

[beezstudyoffilm]

Casablanca 1942 (8/10)

Dir. Michael Curtiz

tw: guns, death, war, gender/racial stereotypes, nazis

It's a classic for a reason, it's a lovely little anti-Nazi/German romance filled with adventure. It's defiantly a film that wouldn't quite pass today because of the many stereotypes that are used but it's one of those films that make you think "that's just how it was back then". Of course, that doesn't excuse any of the stereotypes discussed in the film but it is a film from the 40s so you may have to opt out of most old movies in general if you're not a fan of the views they held back then. Overall, it's a pop culture classic that's got some fun themes so I think it's worth watching.

[invisibletripwire]

The last two years 4 movies came out that I saw in the cinema that I really liked, The Green Knight, The Last Duel, The Northman and Devotion. They all reminded me of movies like they used to be, before franchises and superheroes took over the big screen. Except for The Green Knight (who slightly over-performed in the box office) they all ended up flopping. Sure, the pandemic and bad marketing played a role (Ridley Scott really need to stop blaming millennials and their phones) but another thing is happening as well. People are bad-mouthing these movies before they even see them. Let’s take two examples:

The Last Duel is about a very sensitive subject matter (that’s why it’s rated R) but the film acknowledges this, it is not just ‘’two men butchering each other over the honor of a woman’’, as I heard said (by people who did not watch the film), and no, the woman in question is not just a prop in the story. Her story matters here. 

Devotion is not ‘’whitewashing’’ the Korean war. It is less of a warfilm and more of a character drama about Jesse Brown, who was the first black naval aviator. Only at the end of the movie do you see any war at all. And the movie is pretty accurate to the true story, especially considering they had to condense it down to a 2 hour runtime. It’s a good movie, and very moving at times. 

I really whish more people saw these movies, so original stand-alone movies is seen as less of a risk for Hollywood and more are made. Sure, The Last Duel has violence (including sexual violence) and Devotion tells of racism and grief, totally understand if you want to avoid them for that reason, but they don’t deserve the bad rep they get. Again, mostly by people who have not bothered to see them. 

Stories deserves to seen on the big screen even if they have a sensitive subject matter. 

[warcrimesimulator]

okay speaking of tumblr fascist shit does anyone remember the user warfilm/wheatfieldnationalist LMFAO. she was a (seemingly) normal WW2 blog originally, posted absolutely nothing suspicious. then when Brexit happened she just went full on fash. She eventually deleted because people from her IRL school found her Tumblr. she was like 16. i remember shortly before deletion i went through her blog archive and she used to write Nazi smut about actual real Nazi historical figures.

The best thing about being a WW2 history blogger on Tumblr is you're only so many degrees away from fascists at any given time that you essentially get a front row seat to the most insane online drama you can imagine. I know there are names and URLs that will give certain followers of mine war flashbacks. i remember it so you don't have to!

[puzzledemigod]

Ok I did the whole Barbenheimer thing and let me tell you, Barbie wasn't revolutionary or anything, but it did come up ahead. It did what it was supposed to do and, since I managed my expectations before going in, did it in a fun silly way that still left a bunch of possible deeper readings, even if they were sadly left unexplored (and were maybe unintended). Oppenheimer on the other hand left me very angry and disappointed, even if I went there knowing it was an usamerican warfilm so I wasn't expecting much.

I think Barbie and Oppenheimer were equally superficial and obvious with their intended messages presentations, themes and characters, and equally inconsistent with their story threads. But Barbie was about Barbies, was intentionally silly, and had more going for it than the story itself... and Oppenheimer was about one of the real life creators of the atonic bomb, about the ones responsible for the Hiroshima and Nagasaki bombings, and about the subsequent cold war and the mess it left us today in regards to the existence and threat of atomic and H bombs.

I think I can safely say one had the responsibility to be a bit more nuanced and careful than the other, and that just did not happen. And no, i do not think there was any actual anti USA sentiment in Oppenheimer, as someone who lives in a Developing Country (TM)and is used to seeing usamerican propaganda all the time there was barely even a scratch of criticism buried in there; our knowledge of history and our own modern sensibilities and morality did all the heavy lifting in that front without the movie having to risk saying anything. Oh did he feel bad while the bombs were being dropped? Did they villanize a guy who went after him for uhh being better than him at public speaking? Did they say he was against the H bomb and was a pacifist now, actually (without showing it much but who cares, tell not show right)? He was still the hero. Not one Japanese person was shown. Not one civilian protest, not one appearance of the communists they were talking so much about after the scenes in the past, doing anything but talking the whole time. He still ended up with a "I love my country" tirade, there was still a haha nod to fucking Kennedy being the one to be on our hero's side. They still showed more scenes of women naked, drunk, cheating on their husbands and being negligent towards their kids than of them doing literally anything else.

The "nuance" and "anti-usa messages" was just a bunch of misplaced and inconsequential internal conflict that did not feel earned in any way, misogyny and random, boring and inconsistent jury scenes (sorry, "hearing" scenes or whatever they called so there wouldn't have to be consistent rules to follow). And the main character was so damn boring. And they didn't even represent the actual science parts well. And the editing was so weird and the flashing scenes didn't fit and were repetitive. And there was a happy ending for some reason?? It was a whole bunch of nothing with music building momentum that never went anywhere in the background of every scene for 3 hours and I wanted to leave the room for how angry it made me that this subject was treated that way and would probably get praised for it.

[theomenmedia]

Diljit Dosanjh Joins The Cast Of Border 2!

🎬📷 #Border2 Alert! Punjabi sensation Diljit Dosanjh joins forces with Sunny Deol and Varun Dhawan in what's shaping up to be the most epic war film saga! Get ready for a blend of valor, drama, and unyielding patriotism. #DiljitInBorder2 #BollywoodNews

Here is a link to the full article: https://www.theomenmedia.com/post/diljit-dosanjh-enlists-for-border-2-a-new-chapter-in-bollywood-s-war-epic-saga

#Border2 #DiljitDosanjh #SunnyDeol #VarunDhawan #BollywoodBlockbuster #PatrioticCinema #AnuragSingh #WarFilm #IndianCinema #DiljitInBorder2

[valliantknight]

Shadow in the cloud is unhinged. And not in a good way. This movie hits the halfway point and says 'fuck it, lets get weird'. And like.. if i had known ahead of time it was a scifi.. and over the top, i could have enjoyed it. But netflix labels it as an action warfilm 🥴

So there were multiple points where i was like 'what the fuck'.

So heads up. If you wanna watch something with just a pinch of scifi. And then riddiculous action movie heroics. You gotta go in ready to laugh at it.

[rootingfortheworld]

Grave of the Fireflies, directed by Isao Takahata (1989)

#graveofthefireflies #isaotakahata #films #cinema #movies #animation #foreignfilm #80smovies #movierecs #moviestowatch #warfilm #japanesefilm

[regentstreetcinema]

All Quiet On The Western Front was a surprise winner at this year's BAFTAs, picking up 7 awards! Catch it on the big screen with us from Sunday.

[1984-daily]

Suddenly he began writing in sheer panic, only imperfectly aware of what he was setting down. His small but childish handwriting straggled up and down the page, shedding first its capital letters and finally even its full stops:

April 4th, 1984. Last night to the flicks. All warfilms. One very good one of a ship full of refugees being bombed somewhere in the Mediterranean. Audience much amused by shots of a great huge fat man trying to swim away with a helicopter after him. first you saw him wallowing along in the water like a porpoise, then you saw him through the helicopters gunsights, then he was full of holes and the sea round him turned pink and he sank as suddenly as though the holes had let in the water. audience shouting with laughter when he sank. then you saw a lifeboat full of children with a helicopter hovering over it. there was a middleaged woman might have been a jewess sitting up in the bow with a little boy about three years old in her arms. little boy screaming with fright and hiding his head between her breasts as if he was trying to burrow right into her and the woman putting her arms round him and comforting him although she was blue with fright herself. all the time covering him up as much as possible as if she thought her arms could keep the bullets off him. then the helicopter planted a 20 kilo bomb in among them terrific flash and the boat went all to matchwood. then there was a wonderful shot of a childs arm going up up up right up into the air a helicopter with a camera in its nose must have followed it up and there was a lot of applause from the party seats but a woman down in the prole part of the house suddenly started kicking up a fuss and shouting they didnt oughter of showed it not in front of kids they didnt it aint right not in front of kids it aint until the police turned her turned her out i dont suppose anything happened to her nobody cares what the proles say typical prole reaction they never—

[adamwatchesmovies]

Saving Private Ryan (1998)

Saving Private Ryan manages to do the seemingly impossible. This war film shows intense battle sequences without glorifying combat or condemning it as completely futile either. It’s intense, emotional, and thought-provoking.

On the morning of June 6, 1944, American soldiers land on Omaha Beach during the Normandy Invasion. After the casualties are recorded, it comes to the attention of General George Marshall (Harve Presnell) that three of the Ryan brothers have all been killed. Seeking to spare their mother the burden of having lost all of her sons, he orders Captain John H. Miller (Tom Hanks) and the remains of his battalion to find Private James Ryan and return him home.

You’ve probably heard of the intense half-hour opening and the way war is unflinchingly presented on-screen. Even decades later when it isn’t uncommon for war films to be gory, it's shocking. For every moment of heroism, there is another where someone is matter-of-factly killed by enemy fire. An act that would make you cheer is quickly followed by such brutality and inhumanity you struggle to avoid becoming numb - the only emotional defense that could protect you - then, the camera will turn towards one of our main characters and those emotions you tried to shoo away rush back. A movie could never truly capture the stress of the battlefield, but this is probably as close as you’re ever going to get. For that first exchange alone, the film is a masterpiece. In reality, that’s just the setup to a complex and gut-wrenching dilemma.

Even if a character is only on-screen for a little bit, they still feel alive. It makes the picture's central question that much more difficult to answer. Is the quest to save Private Ryan futile? Is it immoral? There’s no guarantee Captain Miller, Technical Sargeant Mike Horvath (Tom Sizemore), Privates First Class Richard Reiben and Adrian Caparzo (Edward Burns and Vin Diesel), Privates Stanley Mellish and Danny Jackson (Adam Goldberg and Barry Pepper), medic Irwin Wade (Giovanni Ribisi) and greenhorn technician Timothy Upham (Jeremy Davies) will even find Ryan. He’s a needle in a haystack being constantly fired upon. Even if they do, how are they bringing him back? Why him? There are thousands of soldiers dying, thousands of families, lovers, and children waiting for them at home. Even if they won’t be missed, their lives are no less valuable than the others'.

On the other hand, seeing the savagery these men go through, that chance of a single person being spared another day of combat is enough to convince you that the mission is necessary. This film doesn’t aim to depict war as useless or necessary; you make your own conclusion. Until the final scene, you won’t know how to feel about it. Even after, you're unlikely to. No ordinary picture can do that.

Saving Private Ryan changes you. It doesn’t sugarcoat anything. Not the combat sequences, the trauma and emotions that follow, or the moral quandaries that accompany the battlefield. Its characters, story, and the way each little moment, each detail builds up to that final, heart-wrenching scene makes it a picture for the ages. (On Blu-ray, November 17, 2017)