A journalist, down on his luck in the US, drives to El Salvador to chronicle the events of the 1980 military dictatorship, including the assasination of Archbishop Oscar Romero. He forms an... See full summary »
The story of Karen Silkwood, a metallurgy worker at a plutonium processing plant who was purposefully contaminated, psychologically tortured and possibly murdered to prevent her from exposing blatant worker safety violations at the plant.
In the DMZ separating North and South Korea, two North Korean soldiers have been killed, supposedly by one South Korean soldier. But the 11 bullets found in the bodies, together with the 5 ... See full summary »
A journalist, down on his luck in the US, drives to El Salvador to chronicle the events of the 1980 military dictatorship, including the assasination of Archbishop Oscar Romero. He forms an uneasy alliance with both guerillas in the countryside who want him to get pictures out to the US press, and the right-wing military, who want him to bring them photographs of the rebels. Meanwhile he has to find a way of protecting his Salvadorean girlfriend and getting her out of the country. Written by
Tony Bowden <firstname.lastname@example.org>
One of a number of Latin American related movies made by Hollywood in the 1980s that Mexican actress Elpidia Carrillo appeared in, others being Beyond the Limit (1983), Under Fire (1983) and The Border (1982), Capillo's part in the latter having been said to have been very similar to her role in this movie. See more »
El Salvador doesn't have nearly as many cows as the film portrays. See more »
[furious at the sight of how rebels treat their prisoners]
Is this your sense of justice?!
[Is pulled away by two rebels]
You've become just like them! You've become just like them!
This is war! You don't have the stomach for it! Get out!
[Turns around one last time]
YOU'VE BECOME JUST LIKE THEM!
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The cinematic equivalent of being busted in the chops over and over again until you can only fall, this, along with his TALK RADIO, is Oliver Stone's masterpiece.
It is one of the most driven dramas I have ever witnessed, a work propelled by anger, a burning sense of justice and fiery humanism. It depicts a corrupt, murdering regime with savage focus and makes no dramatic concessions to the incendiary material.
Financed slightly outside the Hollywood system, it boasts a dozen extraordinary performances and a brand of camera-work (by Stone regular Robert Richardson) that expertly marries documentary-style coverage to classic composition.
SALVADOR has so much to say, but it concludes having not said it all because it hasn't the time.
It's quite incredible.
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