Film apocalypse 2012 online,the book of revelation 6,disaster recovery plan dilbert - Plans On 2016

In 1975 the United States armed forces returned home from a futile military campaign that had lasted over a decade. By 1978 the director had landed back on home soil, like his comrades he looked lethargic and well battled, yet he had returned with an aura of accomplishment.
The plot of Apocalypse Now, although based on Joseph Conrad’s novel Heart of Darkness, is as Berg states “the patrol with a defiant mission”. With an appropriate flurishment of both symbolic and conflicting characters, Coppola represents the U.S military from almost every angle.
When films such as Saving Private Ryan and TV drama Band of Brothers were premiered, Veterans were invited to special screenings as an ode to their involvement. Conceivably what distances Coppola’s quote more from the truth is his inability to represent the Vietcong soldier as anything more than a masked, cold-blooded enemy.
In his photographical account of the war, Vietnam Inc., Griffiths captured the infamous shot of the VC soldier whom had fought for three days with his intestines gathered in an enamel-cooking bowl he had borrowed. As this scene was a replica of an actual occurrence of soldiers it best serves Coppola in his vision of the film being Vietnam. Apocalypse Now, like almost every other film about Vietnam since, contains a signature ‘massacre’ epitomising the American anti-war stance by playing on the atrocities of My Lai. The cameo of Dennis Hopper within the film as the chemically influenced photojournalist is Coppola’s portrayal of Tim Page.
However, some photojournalists, such as Page, covered the war in the own separate way, usually by accompanying ground troops and documenting the ‘glamour’ of war as well the destruction.
Many Veterans of the Vietnam War took great offence to the images portrayed in Coppola’s film.
What Francis Ford Coppola effectively does throughout the whole of Apocalypse Now is graphically summarise significant events from the Vietnam conflict. From the helicopter attack on the village to the massacre on the fishing boat Coppola uses the protagonist Willard as the keystone in a bridge of chronicles. A collection of live performances and a glimpse of the road from Bill Callahan's American leg of the 2011 Apocalypse tour. IMDb Picks: April "Game of Thrones" Of course "Game of Thrones" is on our radar this month.
Live Facebook Q&A With 'Mother's Day' Director Garry Marshall Join us for a live Facebook Q&A with Mother's Day director Garry Marshall on Monday, April 25, beginning at 4 p.m. Seconds later, his words come back to haunt him as hundreds of giant meteor balls of fire rain down on the planet.Jackson speeds as fast as he can, but his driving skills can't outwit the awesome might of nature. As 2011 draws to a close, one eye is inevitably on the treats that are lying ahead for 2012.
There are films that haven't made the cut here simply because we don't know a fat lot about them yet, or at least not enough to get us fired up. Plus there are the films that we suspect will turn out strongly, but what we've seen of them so far hasn't blown us away (Brave, Skyfall).
We've also had to exclude films that have already had a release in either the UK or the US.
Neither Spy Kids 4 nor Scream 4 performed as expected in 2011, and that’s inevitably going to leave Hollywood types feeling just a bit wary about belated sequels. Bringing in the directors of the first two Harold & Kumar movies, pretty much the full cast from the first film is back this time around, and that already seems like a wise move.
Luc Besson told us earlier in the year that once the second Taken movie was out, we wouldn’t be getting a third. This time, we’re told that some idiot decides to kidnap Neeson’s character, which should make for a solid 90 minutes of action and backside kicking. An attempt by Universal to get the Bourne franchise up and running again without the involvement of, er, the Jason Bourne character, it might just have managed to pull a couple of trump cards.
We're particularly looking at new recruits Jeremy Renner, the latest victim of Treadstone, and villain Edward Norton, who promises not to turn green this time when he's pissed off. A straight-to-video action scenario directed by the extraordinarily versatile (and prolific) Steven Soderbergh? Former professional fighter and model Gina Carano stars as a deadly special operative out for revenge, and she gets to apply her fists and feet to some unbelievably famous faces – Michael Fassender, Channing Tatum, Antonio Banderas, Michael Douglas, Bill Paxton and Ewan McGregor are among the actors who will feel the sour tang of Carano’s fury. We’re hoping that, if Haywire’s successful enough, it’ll encourage other respected directors to turn their hands to action revenge flicks.
With The Expendables 2, then, as marvellous as it it to see so many action beefcakes in one place, we need a better story (and we say that as fans of the first film). We’d still argue that the best R-rated comedy of the last five years has been David Wain’s Role Models, which remains a hoot after many, many repeated viewings. Wanderlust, then, a comedy that reunites him with Paul Rudd, and also adds Jennifer Aniston, Justin Theroux, Alan Alda, Lauren Ambrose (yay!) and Ray Liotta. The rest of the cast is hardly shabby, though, with Charlize Theron, Ray Winstone, Toby Jones, Bob Hoskins, Eddie Marsan and Ian McShane suggest a depth to the company that serves the film well (it's comfortably one of the best casts of the year).
There's real pedigree here, and what we've been allowed to see thus far suggests there's a good film underneath it all. Enthusiasm is not high, it's probably fair to say, among those who care about the Spider-Man character for 2012's big screen adventure for the webslinger.
The teaser trailer was certainly a misfire (how can you tease a character we only saw last on the big screen a few years ago?), but the film, we suspect, will be a lot surer. For the past five years, Finnish director Timo Vuorensola and his fellow filmmakers have been beavering away on the remarkably ambitious Iron Sky, which is effectively a high-concept Hollywood B-movie shot on an indie budget. A film that rides the crest of a new wave of low-budget sci-fi, from 2010’s Monsters, via this year’s Another Earth to the upcoming Spanish picture The Cosmonaut, Iron Sky is yet further proof that big, wild ideas don’t necessarily require big, wild production costs. And if the premise itself isn’t enough to encourage you to see Iron Sky, bear in mind that the legendarily brilliant Udo Kier stars in it, providing all the creepy, shiny-eyed charisma you’d expect. We’ve no idea at all just how it’ll turn out, but as the market for comic book movies becomes more and more crowded, there’s an attempt being made here to try something different, and deliver a film with a bit more individuality about it.
Tim Burton is bringing his outstanding short, Frankenweenie, to the big screen next year, returning to stop motion animation for the first time since Corpse Bride as he does so.
What’s particularly encouraging isn’t just the commitment to stop motion, but the fact that Burton’s film will be in black and white. Burton has two films out next year - Dark Shadows being the other - but right now, Frankenweenie is the one we’re really excited about. Max Brooks’ ephemeral horror novel, based on disparate accounts of a zombie apocalypse, will be a difficult film to accurately convert into a blockbuster movie.
Anyone fearing a warmed-over retread of George Romero’s movies can also rest assured that World War Z will be rather different from the zombie movies we’ve seen in the past. We’ve always been willing to keep an open mind about Len Wiseman’s Total Recall, even though some have argued that the world doesn’t need another rendering of Paul Verhoeven’s bloodthirsty 1990 classic. Colin Farrell stars as factory worker Doug Quaid, a Phildickian everyman figure rather than the Olympian hero Schwarzenegger provided, who begins to suspect that he may once have been a spy. The result, then, could be a sort of futuristic version of The Bourne Identity, with wide-eyed recollections of the past interspersed with lots of chases and fighting. Set in a post-apocalyptic future where competitiors in a televised bloodsport fight to the death, it’s easy to see why Suzanne Collins’ Hunger Games novels have been picked up for a big-screen adaptation. There’s some great talent at work on the film, too, with Pleasantville and Seabiscuit director Gary Ross at the helm, and a cast including Jennifer Lawrence and Josh Hutcherson in its two lead roles, backed up by Woody Harrelson, Liam Hemsworth and Donald Sutherland. Lionsgate certainly has faith in The Hunger Games’ chances, since a sequels’s already scheduled, and if Ross can capture the same energy as the book’s second half, the film should provide the perfect opening chapter in what could be a trilogy of films.
Since the end credits rolled on the 1995 movie adaptation of Judge Dredd (whether you liked it or not) it feels like we’ve been waiting for someone to come in and do it all properly.
The last couple of years have seen a number of alien invasion movies infest our screens, and to date, it’s been the low-budget ones that have proved the most satisfying. Certainly, the idea of setting an alien invasion film at sea’s a relatively fresh one, and there’s  a great cast, including Taylor Kitsch, Alexander Skarsgard, Liam Neeson, and, erm, Rihanna as various officers, commanders and rear admirals. There’s every possibility, given that Battleship’s based on the well-known guessing game of the same name, that this’ll be another landfill summer blockbuster made for the sole purpose of shifting merchandise. An already seemingly taken-for-granted part of the 2012 movie blockbuster landscape, The Avengers has sure-fire hit stamped right across it.
We'd wager that no director of a blockbuster right now has a tougher job than Joss Whedon, who has to juggle lots of major characters, put across a threat worthy of uniting them, and leave room in the film for lots of personalities to make a mark. We have absolutely no doubt that Whedon will take the ingredients here and make a fun couple of hours at the movies.
Genre-hopping Quentin Tarantino tackles a full-on western next, and as you’d expect, he’s got a stellar cast on board. Tarantino has, as always, penned the script, and Django Unchained - which arrives at the very end of 2012 - is the story of a slave-turned-bounty hunter, played by Jamie Foxx, who attempts to free his wife.
Tarantino is giving himself a little more time to lock a final cut than he did with his last movie, Inglourious Basterds (whose schedule was part-dictacted by Tarantino’s desire to screen the film at Cannes), and that space should allow him to fashion one of 2012’s must-see movies.
The distribution side of Disney is releasing three major animated films next year, each of which looks strong in its own right.
It’s Wreck-It Ralph, then, that might emerge as the CG-animated film of choice for next year. If there’s one thing tempering our enthusiasm, it would be that this might end up being a fairly routine adventure in very different clothes. This lavish adaptation of Edgar Rice Burroughs’ pulp sci-fi heroes may be released in a crowded year for genre movies, but we’ve every hope that John Carter can compete with the best of them.
The other reason we’re looking forward to John Carter, though, is because Andrew Stanton’s directing it. The 20-minute preview we saw in November did nothing to dampen our enthusiasm, and there’s every chance that John Carter will provide a heady mix of drama and remarkable visual effects. You wait five years for an Aardman movie to arrive, and then two turn up within six months of each other. Everything we’ve seen of the film thus far demonstrates a lavish attention to detail, a steadfast sense of character, and a style and wit that few of 2012’s releases look set to be able to hold a torch too. This is a massively ambitious production, about a Pirate Captain who’s trying to win a Pirate Of The Year competition despite the fact that he’s generally a bit rubbish. It might not prove to be the biggest animated hit of 2012 (it doesn’t help that the film has a different title on each side of the channel), but its competition will have a job on their hands to beat it for sheer quality.

Incidentally, it’s also the only film on the 2012 roster that uses the voice talent of Brian Blessed that we’re aware of. The first of them, An Unexpected Journey, makes it into cinemas at the end of 2012, nine years after the release of Lord Of The Rings: Return Of The King. To have Peter Jackson back in Middle Earth is proof that there is some justice in the world.
Anyone who saw the spectacular Children Of Men will know that any film Alfonso Cuaron directs is worth consideration, and, if anything, his sci-fi thriller Gravity sounds even more ambitious than his previous feature. Starring George Clooney and Sandra Bullock as a pair of astronauts fighting for survival in a crippled space station, it’s been said by those involved that Cuaron’s brought all his skills to bear on this apparently simple story, with the opening 20 minutes reportedly shot in one long, unbroken take. Other than these scant facts, there’s not a lot more we can really say about Gravity, other than that it’s in 3D, and that Clooney and Bullock are the only two actors in it.
Christopher Nolan is making what’s almost certain to be his last ever Batman movie, while also looking to prove that it’s possible to make a comic book threequel that doesn’t dip in quality.
The film has been shot very much in the open, with the Internet creaking under the weight of set videos and photos from observers. There are so many reasons to look forward to Prometheus, but we'll whittle them down to just a few for brevity's sake. First, it marks a return to sci-fi for Ridley Scott, and second, it shares “the same DNA” as 1979’s Alien.
Some have pointed out that Scott’s creative bulb has dimmed somewhat of late, but we’re hoping that the visual possibilities the sci-fi genre offers (and let’s face it, Scott’s primarily an image maker rather than a director of actors) will result in the return to form we’re all anticipating. We’re actually heartened, too, that Prometheus’ makers have played down the film’s links to Alien, because it gives Scott the opportunity to make something other than a modern retread of the original's haunted-house-in-space. Like so many of next year’s highly anticipated films, from American Pie: The Reunion to The Dark Knight Rises, Prometheus could disappoint us all. This entry was posted in Zombies and tagged How you see yourself in a Zombie Apocalypse, Zombie Films, Zombie movies. As thousands of troops scattered back across the nation to heal their wounds, one man from Hollywood was preparing to go war with a project as defiant to film history as Vietnam was to military. An accomplishment in the form of a war movie entitled Apocalypse Now, a piece of cinema that he thought was so significant, so monumental the only way to define its representation of Vietnam was to proclaim that it as Vietnam. By selecting what has become a mythical range of profiles of the GI, Coppola has rendered his vision of Vietnam to entertainment not to accurate portrayal. As Coppola never bothered to appreciate the contribution of the first hand experience he had taken from the likes of Griffiths how can he justify his film as being what it was?
Klein declares this best as “Again the Vietnamese only appear in Hollywood’s portrayal of the war as brutal, sadistic demons lurking in the jungle, terrorizing women and children, surrounding the Americans” (Klein, 1990; 121) In the film we very rarely see actually Vietcong soldiers. Gritffths wrote a caption to accompany the picture, entitled ‘WOUNDED VIETCONG’, in it he recalls the event and the compassion shown by the GIs “…As he was being carried to the headquarters company for interrogation, he indicated he was thirsty.
However, the mentality with which Coppola picks out both gory and glamorous aspects of the war indicates that he wasn’t too concerned about making a film that best represented what happened in south East Asia, more a sanctimonious strip of highlights. Coppola chose to use the routine checking of a Vietnamese fishing boat that goes terribly wrong as his slaughter.
Coppola adds to this theory in his film in order to cross off another aspect of the war he wanted to cover in his overhauled production. At this feat he succeeds extensively, he has undoubtedly made one of the most influential war films of the 20th century. Chronicles, which individually reflect an event, that passed over the 10-year course of war. With that in mind, we've got our line-up of, as things stands, the 25 films that are brightest on our radar. Jack The Giant Killer, Rise Of The Guardians, Red Tails, Chronicle and Dark Shadows all fit into that category.
Then there are the potential hidden gems (ParaNorman) we'll come to separately in another feature. What complicates matters still further with American Pie is the small matter of four, pretty crappy straight-to-DVD sequels that have blighted the last decade. Maggie Grace is returning, and the cast is rounded out by Famke Janssen and Rade Serbedzija, amongst others. We’ve yet to see evidence that he can pull together a full, three-act compelling action movie. He showed in Michael Clayton that he can handle characters, although Duplicity, his directorial follow-up, wasn't quite the caper we'd hoped for. The cast is rounded out strongly, with the returning Joan Allen and Albert Finney joined by Rachel Weisz. If it doesn't, expect a generous offer to be headed in the direction of Messrs Damon and Greengrass. If you’re reading this, Terrence Malick, we’ve a combat-filled script all written and waiting for you, and Billy Blanks is on speed-dial. Both The Expendables, and consequently Red, traded heavily off an impressive and unusual ensemble cast, and got away with deficiencies that otherwise would have mattered a little more as a result. Thus, joining him this time will be Jean Claude Van Damme and Chuck Norris, as well as the returning Jason Statham (win), Dolph Lundgren, Arnold Schwarzenegger and Bruce Willis. A really impressive maiden trailer certainly helped there (contrast it with Mirror Mirror's if you want to see how these things can go wrong), which showed just what Kristen Stewart can do away from the Twilight franchise. Lest we forget, director Marc Webb gave us the delightful, offbeat romantic comedy (500) Days Of Summer, which took risks with an otherwise highly conventional drama. And thanks to the magic of computers, lots of ingenuity and imagination, the result is a bizarre sci-fi fantasy, which suggests that Nazis scuttled off to a secret base on the moon at the end of World War II. GHOST RIDER: SPIRIT OF VENGEANCE    We’ve already written with some optimism about the big screen return of Ghost Rider. We can’t say we were bowled over by Corpse Bride, and the thought of nearly tripling the length of an already-tight story is a concern. This suits the material well, and the reel of footage we’ve had the pleasure of seeing thus far demonstrates that classic horror fans are in for a treat. Nevertheless, director Marc Forster’s having a go at it, and his World War Z will be among the most expensive undead-based movies yet made, with a budget of $125 million. Forster has compared it to Watergate thriller, All The President’s Men, while others have said it’s like Children Of Men and The Bourne Identity. So far, though, Total Recall 2012 doesn’t sound like a mere retread of the previous one – instead, it appears to be an alternate reading of Philip K Dick’s brief source story, We Can Remember It For You Wholesale, albeit with certain elements of Verhoeven’s movie thrown into the mix. Although this version of Total Recall remains firmly on terra firma, certain characters from the 1990 film remain, such as a rebel leader called Kuato (this time played by Bill Nighy) a mysterious lady of the night called Melina (with Jessica Biel replacing Rachel Ticotin) and a corporate villain called Vilos Cohaagen (Bryan Cranston, standing in for Ronny Cox).
With a great cast and some decent writers on its credits (Kurt Wimmer, Mark Bomback and James Vanderbilt), Total Recall may prove to be one next year's most unexpectedly great sci-fi films.
Enthusiastically told and enormously successful, the books have a similar teen demographic to Stephanie Meyer’s Twilight series, and Lionsgate will no doubt be hoping that the first of its film versions will be as popular with audiences. This new movie take on Dredd, with a helmeted-Karl Urban in the title role, has the potential to match our hopes. The story ran that director Pete Travis wasn’t involved in the edit, and that writer Alex Garland had stepped in to finish the movie.
Could director Peter Berg deliver an expensive invasion flick that delivers plenty of character as well as explosive set-pieces?  That’s certainy what we’re hoping. After all, this isn't your traditional ensemble film, where characters can easily interweave with one another. The trailer that's been released is strong, even if it makes the film look more of an Iron Man sequel than The Avengers, and we've met few people who won't be in the queue to buy a ticket as a result. Leonardo DiCaprio, Joseph Gordon-Levitt, Samuel L Jackson, Kurt Russell, Christoph Waltz and Don Johnson are amongst the ensemble this time.
The one we’ve left off this list is Pixar’s Brave, which we think will be strong, but it’s so under wraps, it’s hard to get too enthused just yet (the trailer didn’t do it too many favours, either). The basic outline is lovely: an old, 8-bit computer game character finds himself in the modern world. Burroughs’ Barsoom books may not have the pre-installed global audience that, say, a high-profile Marvel or DC comic hero might have behind it (though they undoubtedly have a devoted following), but they’re the perfect jumping-off point for an exciting action fantasy that’s perfect for the big screen. He’s already proven his abilities as a storyteller in such Pixar movies as Finding Nemo and Wall-E, and the amount of CG effects work in John Carter should make this movie the perfect entry point into the very different world of live-action filmmaking. It helps that the expertise of Peter Lord – creator of Morph, director of Chicken Run – is calling the shots on the film, but there’s more to The Pirates than that. This lays a platform for Aardman to not only showcase its unparalleled craft, but to put together a funny, warm family adventure (it's already looking like one of 2012's funniest).
It’s testament to how many interesting films are heading our way in 2012 that this ranks fourth in the list, but don’t let that fool you: The Hobbit is a flat-out must see from where we’re sitting.
That’s he recruited so many of the talented people who brought Lord Of The Rings to the screen could also provide a vital constistency. What we can say, though, is that Children Of Men was a meditative and intelligent sci-fi film with moments of incredible intensity, and we’d be extremely surprised if Gravity was any different.
He’s got his regular cast back - Christian Bale, Morgan Freeman, Gary Oldman, Michael Caine - and recruited Tom Hardy, Joseph Gordon-Levitt and Anne Hathaway too, in a film that promises to close this chapter of Bruce Wayne’s story. The Dark Knight built terrifically well on the excellent Batman Begins, and The Dark Knight Rises is set to try a few different things again. Add to that a great cast (including the ubiquitous Michael Fassbender, Noomi Rapace and Idris Elba) and the writing talents of Damon Lindelof, and you have at least the possibility of a fantastic sci-fi film. What we appear to be looking at is a kind of first-contact sci-fi flick, along the lines of Arthur C Clarke’s novel Childhood’s End or 2001: A Space Odyssey, albeit with an extremely nasty (and presumably acid-spitting) sting in its tail. But then again, the talented people involved could exceed our expectations, and bring us a film that shares Alien’s brilliance as well as its DNA. Francis Ford Coppola’s weapon of choice would shoot people, but his ammo would be 8mm film not 8mm bullets. A statement that proved controversial at the very least, due to the fact that on one hand it displays some comparable truths, yet on the other appears arrogant and a divisive evaluation of a brutal conflict. Willard takes the audience from the comfort of the hotel room in Saigon all the way upstream to Colonel Kurtz’s ancient stronghold. Hellmann discusses this by acknowledging a critic of the time “In the Atlantic, Ward Just echoed many critics in calling Apocalypse Now “arguable the most wonderfully photographed cartoon in film history, but still a cartoon” (Hellmann, 1986; 172) By suggesting the film as animation what Just implies is that the range of military troops assembled as Willard’s escort are characters designed foremost to conflict with each other, whilst also drawing opinions of alienation and sympathy from the viewer.

Perhaps had should have donated his words to Steven Spielberg or Tom Hanks as their visions of international war were more founded. From the embankments, tracer rounds are fired at Willard’s patrol boat, in the battle for the bridge that stands in the ‘asshole of the world’ we hear a dying VC taunt his American enemies.
Vien, a Vietnamese critic of Apocalypse Now disapproves of Coppola’s blatant disregard of using fact in his fictional art. Again, taking away the everyday vision of Vietnam with which he thought his film stood for. This certainly contradicted Coppola’s thoughts as the film was so far from being an accurate representation of ‘Nam to veterans of the conflict that it had to be publicised as an adventure movie. However, upon addressing the film as being, not about but, actual Vietnam he has made a grossly overrated and egotistically mistake. While Columbiana and Transporter 3 had moments, neither is a film that particularly stands out. It’s also comfortably Wain’s most mainstream film, and we’re intrigued as to how he follows it up. Aniston and Rudd are a married couple, who decide to up sticks from New York living, for a calmer life. With a proven knack for comedy, and little sign of a wish to pander to the audience, Wanderlust is one of our comedies to watch out for in 2012.
Furthermore, Andrew Garfield and Emma Stone look set to make a strong central pairing, while bolstering the cast with Martin Sheen, Sally Field and Rhys Ifans looks like a good plan. Having spent the last 60 or so years secretly perfecting a new form of anti-gravity spacecraft, the Third Reich prepares to reclaim the Earth. And if reviews of the script are anything to go by, it’s a great adaptation, too, with Ain’t It Cool describing it as a “genre-defining piece of work”. We’re not quite sure how all that ties together, but those comparisons alone have us itching to see just how good this film is. With Berg at the helm (Friday Night Lights, anyone?), Battleship may provide us with a big surprise next summer. The Avengers sees characters we're used to seeing front and centre now working side by side. Kevin Costner was also due to feature, but has since had to pull out due to other commitments. Visually, straight away, that opens up an abundance of possibilities, and also, it’s Disney trying something just a little different. Rich Moore is making his feature directorial debut here, but his background – The Simpsons, Futurama, The Critic – certainly suggests that tonally, Wreck-It Ralph might just have the goods to marry up to its inspired concept. The stories to date have been ambitious, the execution excellent, and Nolan’s Batman movies will be resident in top ten comic book movie lists for many years to come. Similarly, as his American brothers-in-arms had been, Coppola would be staging a battle in an unknown territory, surrounded by rivers, jungles and unknown East Asian faces. This essay will focus on how far Coppola’s declaration is honoured by his masterpiece and to what extents it has fallen significantly short of acquiring such status. On his journey, Willard is accompanied by a divergence of U.S GIs on their patrol boat, each portraying a separate vision of the American soldier in Vietnam. Much as a cartoon would do to a child, the audience can favour our hero and cast their admiration or frustration upon the remaining characters. The only encounters we actually see the VC in battle are during the Wagner helicopter attack on the Vietnamese village, specifically when the female rebel throws a grenade into the medic-vac helicopter and during the scene where Kilgore allows a VC to drink from his canteen.  This sequence is the most fundamental in supporting Coppola’s opinion as it was stolen, word-for-word, from an actual event that took place and was documented by photojournalist Philip Jones Griffiths. With real anger a GI told him to keep quiet, then mumbled, “Any solider who can fight for three days with his insides out can drink from my canteen any time!” (Griffiths, 1971; 44) Francis Ford Coppola, not only stole this encounter but placed it within his film using word-for-word of what Griffiths had wrote. The miss-interpreted movements and lack of understandable communication between the GIs and the Vietnamese citizens result in a mass killing. The photojournalist was a significant role to have employed during the conflict, at that time, in order to boost morale and propaganda, many members of the press were allowed onto the field of combat, they were escorted to and from battlefields as if they had the role of general. Apocalypse Now, Dog Soldiers, Coming Home…all use a particular song to reinforce a specific reading” (Klein, 1990; 87) Coppola achieves a sense of this by littering his film with rock songs accompanying hallucinatory sequences, most memorably the opening hotel room scene in Saigon, which combined The Doors “This is the end” with the mental breakdown of Willard. This certainly indicates that the film did not live up to the director’s vision of a successive depiction of the Indo-Chinese conflict. No matter how well he portrays the roles of the GIs or Vietcong, not matter how bloody and realistic he presents the face of war and no matter how close his re-telling of the narrative is, he fails to make a film that live up to this statement.
Devine in his analysis places movies like this ironically as “unable to fully convey the meaning of what Marlon Brando as Kurtz in ‘Apocalypse Now’ referred to as “the horror”(Devine, 1990; 98).
It's not the first, of course, but Sam Raimi had a Spider-Man 4 ready to go, and Sony's spreadsheet said it wanted a movie at up to a third of the cost.
What is more certain is that Dredd is in the hands of people who really care about it (in fairness, the director of the Stallone take, Danny Cannon, was a massive fan too, but just didn’t have the power at that stage to get his vision across).
And it’s a bold move to wrap an entire mainstream animated feature around videogame characters.
Like his GI counterparts, he would be going into a fight alone, he would have cash in his pockets, vast supplies at his base camp and the Whitehouse’s blessing to blow anything that looked suspicious. In order to do this, specific parts of Apocalypse Now’s depictions of the Vietnam War will have to be individually analysed.
When Griffiths confronted Coppola about this act of theft the Hollywood giant simply said ‘sue me’ indicating his self-centred lack of respect for someone who had witnessed first hand what Vietnam was. Compassion, patriotism, shame, sadness, glee, aggression and dissolution are ticked off along the way like checkpoints on Willard’s mission. Many soldiers at the time were young recruits (average age of a US troop in Vietnam was 19), whom had been on foreign soil for the first time. In conveying this story Coppola shapes fact through fiction, in re-enacting the canteen scene, using word for word what Griffiths witnessed, the audience can only understand so much. In terms of production complications Coppola can take credit in his comments, however the core of the film cannot live up to this statement as it is simply Hollywood’s ‘man on a mission’ plotline crossed with factual and fictional encounters.
Rather than attempting to follow-on from the pretty unimpressive first outing for Nicolas Cage as Johnny Blaze, wholesale surgery has been called for.
And finally - finally - Peter Jackson got cameras rolling on the two films earlier this year. These areas include the role of the U.S and Vietcong soldiers, the media, the influence of drugs and what has almost become the signature seal of any Vietnam film, the portrayal of a massacre. Johnson (often shortened to ‘LBJ’) ‘the surfer’, more concerned with keeping his hair golden, his adopted puppy comfortable and his water ‘laced with acid’ than with manning his gun. Showing a slice of each feeling in the emotional spectrum allows the viewer to taste the many different factors of the war, however it is not an accurate representation of the key factors that combat personnel experienced. A unit of the Americal Division operating in the Quang Ngai Province sum months before My Lai” (Griffiths, 1971; 59) What Coppola producers here is the basic sense of the ‘My Lai Massacre’, the unprofessional and psychotic behaviour of the American GIs repeats the acts of that terrible day. As they were isolated from parental authority many tried drugs like cannabis and ‘acid’ for the first time. The characters, landscape and dialogue appear realistic and accurate yet still this is simply one mans vision of what happened in Vietnam.
Thus, Klein supports this by telling, “it is unable to penetrate sufficiently into the heart of the experience to rescue the Vietnamese from neo-colonialist stereotypes or illuminate the complexity of war” (Klein, 1990; 121). Also on board the boat is Jay ‘Chef’ Hicks, mentally unstable and overly aggressive he signifies the role of the ‘crazed GI’.
He can be given credit in the mammoth task, which he has accomplished, but only in the fact that he has succeeded in satisfying the audiences’ thirst for entertainment. Thus, Coppola succeeds in obtaining an all round entertaining vision of war but fails to represent it in its true understanding. As this was such a publicised event and a staple for the anti-war movement, most directors chose to acknowledge it with a smaller scale sequence within their production. Coppola uses this stance in his account of the photojournalist in Vietnam, this he does for two main reasons.
Coppola reflects this well and succeeds in representing ‘Nam as a drug induced rock and roll state. Coppola did continue his speech to say that ‘and the way we made it was very much like the American were in Vietnam. Thirdly, symbolic of ‘the kid’ soldier in Vietnam, Tyrone ‘Clean’ Miller is a naive and trigger happy young recruit who salutes the rock ‘n’ roll element of the war. The visualization of Coppola’s spectacle of war appears definite within Vietnam films for its symbolism of accuracy, but at heart it is still a Hollywood film more concerned with box office sales than veterans appreciation. This does convey a sense of the horrific brutalities that some Vietnamese civilians suffered, however, Coppola demonstrates this as an activity that happens on a day-to-day basis, which was never the case. Firstly, the photographer pays homage to people like Page who went beyond the boundaries to document many events in order to show the American people what combat and the cost of human sacrifice was actually like. Lastly, the captain of Willard’s vessel is ‘Chief’ Phillips, a leader who is strong and decisive yet fearful of the impact Willard’s mission may have on his troops. The U.S public, due to the impression that the press and filmmakers at the time gave them, labelled American GIs as ‘baby killers’. Secondly, and more importantly, Hopper’s character modelled on Page is far more entertaining than the more fundamental picture of a photojournalist in Vietnam. Robert Duvall famously exclaimed ‘I love the spell of napalm in the morning…smells like victory’ in his iconic and Oscar nominated supporting role as the crazed and somewhat untouchable Captain Kilgore. The character is used as a catalyst in the eagerly awaited meeting of the story’s protagonist and antagonist and applies a voice to the anxiety of the inevitable climax. For this part it is quiet easy to sympathise with the director for his epic battle with script, set and stars and he is right to describe his film’s vast and complex production in this manner.
The photojournalist was a seamless representation of Page, a veteran photographer of the war, and for this Coppola can be praised.
However, Apocalypse Now is and will always be a film about Vietnam, and at that it is undoubtedly a masterpiece, however it will never be Vietnam. By choosing this approach Coppola enhances the illusion of what the influence of drugs and rock ‘n’ roll music had on the war.

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