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 »
The story of the famous and influential 1960s rock band The Doors and its lead singer and composer, Jim Morrison, from his days as a UCLA film student in Los Angeles, to his untimely death in Paris, France at age 27 in 1971.
A young and impatient stockbroker is willing to do anything to get to the top, including trading on illegal inside information taken through a ruthless and greedy corporate raider who takes the youth under his wing.
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 <email@example.com>
At 28:10 one of the "dead" bodies in the landfill moves his head. See more »
[doesn't understand the insults being spoken at him in Spanish]
Yeah up yours too, Jack!
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According to the biography "Stone: The Controversies, Excesses, and Exploits of a Radical Filmmaker" by James Riordan, the film was originally meant to be a two and a half hour release from a 150 page script, and much extra footage was cut due to box office concerns and by the original studio, Orion, who saw that a lot of the footage was too excessive or violent (one such scene described in the book was of an orgy scene with Rick Boyle and Dr. Rock and a bag of ears casually tossed on to a table). Stone regrets this decision as the film ended up, and was criticized for being, choppy in some of its editing. Some of this deleted footage is included on the Special Edition DVD. See more »
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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