The final movie in Oliver Stone's Vietnam trilogy follows the true story of a Vietnamese village girl who survives a life of suffering and hardship during and after the Vietnam war. As a ... See full summary »
Hiep Thi Le,
Tommy Lee Jones,
Haing S. Ngor
Jon Lansdale is a comic book artist who loses his right hand in a car accident. The hand was not found at the scene of the accident, but it soon returns by itself to follow Jon around, and ... See full summary »
Jonathan Frid portrays a horror novelist who has a recurring nightmare about three figures out of his book who terrorize him and his family and friends during a weekend of fun. Then the ... 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>
When James Woods discovered that there was a blank cartridge in the rifle which could have damaged his head, he refused to continue with the scene, resulting in another of the many fierce arguments between cast and crew. See more »
When the colonel approaches Boyle, he is sprayed with mace. Less than half a minute later, he has completely recovered. See more »
[his last lines]
You don't know what it's like in El Salvador! You have no idea! Maria! *Maria!*
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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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