Love it.

Rating: 9/10 (16 February 2006)

This movie is so superior to Troy that it isn't even worth debating. On my first viewing of Alexander, I must say I was impressed, if only because the film's reputation is so maliciously poor; I was expecting nothing but a rotten, stinky piece of claptrap. Things bothered me -- Vangelis' score, initially, felt far too pompous (especially the first 1/4 of the film) -- there were too many moments of obvious overacting -- I didn't care for the transition from the battle in India all the way back to the sequence following Phillip's death. But, I was impressed -- both visually and in the way the story generally developed; it was interesting and quite absorbing, despite some obvious flaws.
Now let me get this out -- I'm not a history major. The comments made here about the film's historical inaccuracy, I cannot deny, and quite frankly I would be inclined to agree with them. Alexander, from the very, very little I know, was supposed to be a great warrior, and this is not portrayed. Likewise, Stone makes him out to be quite a progressive leader, mixing the races and all that jazz... Didn't buy it, especially since the hints at his ideals and an implicit sense of being ahead of his time were obvious and trite.
That being said, I enjoyed this film merely as a work of fiction; a good story, absolutely "sensational" visuals, and an absolutely brilliant score by Vangelis. Acting that, overall, is more intense and believable than most the crap Hollywood releases these days; and editing that, while far from consistent, made for some of the best cinematic moments I've seen in quite a few years.
So, the cinematography.. Don't think I need to elaborate on this; even many naysayers agree it's beautiful. Shocking to me, however, was how I found Vangelis' score to be out of place initially, but eventually keen and eloquent -- pitch perfect for quite a number of scenes. For example, the first battle sequence; beginning with some poor, unmelodic nonsense on synth (the worst bit of writing in the film), but evolving into a brilliant, minimalistic drum pattern, with (admittedly clichÃ©) exotic vocals on occasion. It eventually proves to be boldly climatic and utterly satisfying within the context of the entire sequence. Furthermore, his themes are INCREDIBLY grandiose; shameless in their epic nature, but all the better for it. Inparticular, shining moments include the cue when Alexander first tames Bucephalus (ironically the moment that irked me most upon first viewing), and the entire sequence in India. When Alexander and his calvary charge about midway through the fifteen minute sequence, and the camera pans from a close shot of Alexander to a distant shot of him and his calvary -- Alexander screams "Come Macedonians, RIDE... RIIIIIIDE!" -- it quite honestly sends shivers down my spine. In that time span of three or four seconds, Stone captures more spirit than a lot of films can muster in an entire running time. It's just utter, cinematic greatness, and that's the only way that I can state it. Unbelievable. Only a few moments later -- following Alexander's charge, rise and fall against an elephant -- there are more of these lavish, gorgeous scenes. Again -- and I only go into detail in hope that others who like the film (or rather, love it) will relate with glee -- it is a pitch-perfect combination of stunning, artistic photography and motifs from Vangelis that put other composers to shame (and I adore many a film composer). As Hephaistion and Bucephalus fall, the film shines brilliantly again -- completely and utterly striking, expressive, raw, and tender... Despite the film's general lack of emotion, the scene melts the heart and inspires with it's passion.
On the downside, the film's psychological perspective on Alexander is not incredibly interesting, nor is it subtle. There is an enigmatic presence to Farrel, but I'm not sure if it was intended or the fact that there's very little consistency to his character period. Consequently, the film isn't too emotionally captivating, despite the fact that certain scenes do envelope.
But basically, this film has become a favorite of mine. It's not perfect -- no way -- but it's epic, it tries and it both fails and succeeds. But it feels so passionate, so heartfelt in the intent of almost everyone involved, that I can't possibly dismiss it. In fact, I always feel compelled to stand up for it and recommend it. Unfortunately, too many post-modern lemmings have no eye for art, music, or aesthetic. Such is the world we live in, unfortunately.
(That being said, I'm not one to criticize those that dislike the film -- some of my favorite critics loathed it... From what I've observed, however, I just don't think a lot of the naysayers express much sign of intelligence and, as a result of that, validity.)