Full Metal Jacket (1987) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A pragmatic U.S. Marine observes the dehumanizing effects the Vietnam War has on his fellow recruits from their brutal boot camp training to the bloody street fighting in Hue. Director: From $2.99 (SD) on Amazon Video ON TV Enter if you dare Related News a list of 46 titles created 11 Apr 2011 a list of 38 titles created 02 Oct 2011 a list of 26 titles created 03 May 2014 a list of 49 titles created 09 Mar 2015 a list of 49 titles created 11 Apr 2015 Title: Full Metal Jacket (1987) 8.3/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 1 Oscar.

Another 7 wins & 9 nominations. See more awards » Photos 1 2 3 4 5 6 7 8 9 10 8.3/10 X In future Britain, Alex DeLarge, a charismatic and psycopath delinquent, who likes to practice crimes and ultra-violence with his gang, is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan. Director: Stanley Kubrick A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future. Director: Stanley Kubrick Humanity finds a mysterious, obviously artificial object buried beneath the Lunar surface and, with the intelligent computer H.A.L. 9000, sets off on a quest. Director: Stanley Kubrick During the Vietnam War, Captain Willard is sent on a dangerous mission into Cambodia to assassinate a renegade colonel who has set himself up as a god among a local tribe.

Director: Francis Ford Coppola After a simple jewelry heist goes terribly wrong, the surviving criminals begin to suspect that one of them is a police informant. Director: Quentin Tarantino In Miami in 1980, a determined Cuban immigrant takes over a drug cartel and succumbs to greed. Director: Brian De Palma A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process. Director: Martin Scorsese A young recruit in Vietnam faces a moral crisis when confronted with the horrors of war and the duality of man. Director: Oliver Stone In Nazi-occupied France during World War II, a plan to assassinate Nazi leaders by a group of Jewish U.S. soldiers coincides with a theatre owner's vengeful plans for the same. Directors: Quentin Tarantino, Eli Roth Stars: Brad Pitt, Diane Kruger, Eli Roth A criminal pleads insanity after getting into trouble again and once in the mental institution rebels against the oppressive nurse and rallies up the scared patients. Director: Milos Forman Henry Hill and his friends work their way up through the mob hierarchy.

Director: Martin Scorsese A former neo-nazi skinhead tries to prevent his younger brother from going down the same wrong path that he did. Director: Tony Kaye Edit Storyline A two-segment look at the effect of the military mindset and war itself on Vietnam era Marines. The first half follows a group of recruits in boot camp under the command of the punishing Gunnery Sergeant Hartman. The second half shows one of those recruits, Joker, covering the war as a correspondent for Stars and Stripes, focusing on the Tet offensive. Written by Scott Renshaw <as.idc@forsythe.stanford.edu> Vietnam can kill me, but it can't make me care See more » Genres: 10 July 1987 (USA) See more » Also Known As: Stanley Kubrick's Full Metal Jacket See more » Filming Locations: Did You Know? Trivia William Hope was offered a role, but he turned it down in favour of Aliens (1986). See more » Goofs The sniper makes many precise shots but isn't using a sniper scope. See more » Quotes [first lines] Gunnery Sergeant Hartman : I am Gunnery Sergeant Hartman, your senior drill instructor.

From now on you will speak only when spoken to, and the first and last words out of your filthy sewers will be "Sir". Do you maggots understand that? Recruits: [In unison in a normal speaking tone] Sir, yes Sir. Gunnery Sergeant Hartman : Bullshit I can't hear you. Sound off like you got a pair! Recruits: [In unison, much louder] SIR, YES SIR! Gunnery Sergeant Hartman : If you ladies leave my island, if you survive recruit training, you will be a weapon. You will be a minister of death praying ... ‎Full Metal Jacket (1987) directed by Stanley Kubrick • Reviews, film + cast • Letterboxd 22 For the full extent of my high school years (1988-92), I was a cadet in the United States Army Junior Reserve Officer Training Corps. My fellow cadets and I worshiped the Boot Camp half of this film. R. Lee Ermey was like a god to us, and we memorized all of his speeches. But because we were so obsessed with the Ermey character, we never seemed to watch the second half.

We apparently bought into the myth that it sucked. Looking back now on that Boot Camp half that looms so large in my memory, I find two truths at work: First, it's been parodied so many times since then, frequently by Ermey himself, that it's initially hard to take… 14 This film has always given me a deep sense of unease. This feeling particularly applies to the first part, which takes place at basic training. In fact, I feel that what the recruits are exposed to affect myself directly. The whole film deals with partial degradation of human dignity and the self, but the way Kubrick throws this in our faces already from the beginning grabs me every time. The haircut-sequence is an important part of this. As before a surgical procedure, the skulls are prepared for the psychological interventions that will follow. Human hair, an important part of who you are, is left behind in a heap on the floor. By completely changing and standardizing appearance this helps alienating… 13 There are only a handful of truly iconic war films and this most definitely belongs among them.

It does not merely depict elements of war in a realistic way, it also intelligently critiques and satirizes our species' instinctive tendencies to wage war and the inescapable need for a communal spirit while cyclically purveying an 'us vs them' mentality. In the first part, perhaps most famous for the foul mouthed genius of Lee Ermy, Kubrick shows us how the cogs are created in the machine that was the Vietnam war. By dehumanizing new recruits, Kubrick shows us the strengths and weaknesses of our race. When pushed, we can achieve anything we want. When thrust together we take care of our own… 10 This is the third film from Stanley Kubrick I have the pleasure to see in theaters and one that was really in need for a rewatch. Full Metal Jacket is certainly a riveting and powerful war film where the director examines how brutal war can be to the point of having dehumanizing effects among the recruits. I found the boot camp segment to be more compelling and the way Kubrick builds up the suspense is fascinating. Also, the humor is inserted in the right measure, making the whole segment entertaining yet tragic at the same time.

The second chapter is filled with interesting reflections as well, but uneven for me. The comedic moments seem misplaced at times and a couple… 3 Having earlier shown the futility & irony of warfare in Paths of Glory , Stanley Kubrick returns to the genre of war once again to observe the tactics used by military to transform its newly recruited marine corps into killing war machines and captures the dehumanizing effects Vietnam War had on soldiers through the eyes of Pvt. Joker, who is also the narrator of the film. What does it take to transform a normal human being into a remorseless assassin? Full Metal Jacket is Kubrick's attempt to answer that question. Full Metal Jacket is a two segments story.

The first one concerns a new batch of US Marine Corps recruits who arrive at Parris Island for training under the command of Sgt.… 🎬🎬🎬🎬🎬 تقرير فيلم full metal jacket من اكثر الحروب جدلا على مر التاريخ الحرب التي شنتها الولايات المتحدة الأمريكية ضد فيتنام والتي حتى هذه اللحظة خفايا هذه الحرب غامضة من ناحية اسبابها و نتائجها زيف في الاعلام مازيف وبالاخص في وقتها كان الاعلام بيد الحكومة متحكما بما يسمعه الناس حتى على مجال السينما صنعت العديد من الافلام التي تحكي عن انتصار الامريكان في هذه الحرب ومع تقادم الزمان بدأت تظهر بعض من اسرار هذه الحرب على السطح وينكشف جزء منها في هذا الفيلم استطاع المخرج وبشجاعه بالغة تسليط كافة الاضواء على ساحة الحرب متدرجا بطريقة عسكرية بحته وكأنه جنرال لا مخرج بين اصل التعبئة العسكرية و التهيئه النفسية للجنود ثم التعاطي الاعلامي مع مجريات الحرب

 واخيرا الى الحرب نفسها بداية… Full Metal Jacket (1987) Official Trailer HD - YouTube Full Metal Jacket (1987) Official Trailer HD Want to watch this again later?

Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jan 26, 2013 Discover, rate, review your favorite movies, tv shows and books share with friends and people around the world. Check it out! Full Metal Jacket is a 1987 war film produced, directed and co-written by Stanley Kubrick. It is an adaptation of Gustav Hasford's 1979 novel The Short-Timers and stars Matthew Modine, Vincent D'Onofrio, R. Lee Ermey, Arliss Howard and Adam Baldwin. The film follows a platoon of U.S. Marines through their training and the experiences of two of the platoon's Marines in the Tet Offensive during the Vietnam War. The film's title refers to the full metal jacket bullet used by infantry riflemen. Category Full Metal Jacket Trailer - YouTube Full Metal Jacket Trailer Want to watch this again later? Sign in to add this video to a playlist. Need to report the video?

Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Feb 18, 2012 Full Metal Jacket is a 1987 war film produced and directed by Stanley Kubrick. It is an adaptation of the 1979 novel The Short-Timers by Gustav Hasford and stars Matthew Modine, Vincent D'Onofrio, R. Lee Ermey, Arliss Howard and Adam Baldwin. The film follows a platoon of U.S. Marines through their training and the experiences of two of the platoon in the Tet Offensive during the Vietnam War. The film title refers to the full metal jacket bullet used by infantry riflemen. Epicka opowieść o oddziale marines wysłanym do Wietnamu. Wpierw poznajemy przyszłych żołnierzy, gdy odbywają szkolenie w specjalnym obozie. W drugiej części filmu akcja przenosi się do Wietnamu.

Głównym bohaterem jest Joker, młody rekrut, który pracuje jako korespondent wojenny i na własne oczy przekonuje się, czym naprawdę jest walka. Category Leonard "Private Pyle" Lawrence | Movie Morgue Wiki | Fandom powered by Wikia Leonard "Private Pyle" Lawrence Share Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you’ve made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Leonard Lawrence is an overweight, dim-witted Marine cadet that appears in the 1987 war film Full Metal Jacket directed by Stanley Kubrick. Leonard is portrayed by Vincent D'Onofrio. Amongst the new recruits on Parris Island is Leonard, whose slow-minded behaviour and fat figure earn him the nickname "Gomer Pyle", after the simple-minded mechanic character from The Andy Griffith Show, from the ruthless drill instructor Gunnery Sergeant Hartman .

Throughout his Marine training, Pyle is repeatedly scolded and bullied by Hartman as the sergeant puts extra pressure on him to help him keep up with the rest of the platoon. The unmotivated, incompetent Pyle earns no sympathy from his fellow cadets, save for Private James T. "Joker" Davis, who offers a gentler hand when trying to motivate Pyle. Joker's efforts are in vain, it seems, as on top of his under-achieving in training, Pyle has also been hoarding forbidden foodstuffs such as doughnuts. When Hartman finds a doughnut in Pyle's foot locker, he instigates a collective punishment policy; instead of punishing Pyle, he punishes the rest of the platoon for Pyle's transgressions. This leads to the other cadets hazing Pyle by holding him down on his bunk and beating him with bars of soap wrapped in towels. Following this incident, Pyle seems to go through an overnight personality change, becoming a model recruit. However, Joker is disturbed by the sudden attitude change in Pyle and fears for his mental well-being.

His fears are confirmed when he discovers Pyle in the bathroom on the last night on the island, talking to his M14 rifle and loading it with live rounds. Pyle's expression during the scene makes it abundantly clear that he has snapped and he recites the Rifleman's Creed whilst Joker tries to calm him down. Hartman and the rest of the platoon are awoken by the noise and Hartman confronts Pyle in his usual unsympathetic and aggressive manner. Pyle puts an end to Hartman's abuse by shooting him with the rifle. Immediately after killing Hartman, Pyle kills himself by placing his mouth over the gun's barrel and pulling the trigger. Full Metal Jacket (1987) | Hollywood Subliminals Hollywood Subliminals Breaking the Spell Full Metal Jacket (1987) Full Metal Jacket is a 1987 war film produced and directed by Stanley Kubrick. It is an adaptation of the 1979 novel The Short-Timers by Gustav Hasford and stars Matthew Modine, Vincent D’Onofrio, R. Lee Ermey, Arliss Howard and Adam Baldwin. The film follows a platoon of U.S.

Marines through their training and the experiences of two of the platoon in the Tet Offensive during the Vietnam War. The film title refers to the full metal jacket bullet used by infantry riflemen. PLOT SUMMARY In 1967, during the Vietnam War, a group of new United States Marine Corps recruits arrives at Parris Island for training. After having their heads shaved, they meet their senior drill instructor, Gunnery Sergeant Hartman (R. Lee Ermey). Hartman employs draconian tactics to turn the recruits into hardened marines prepared for combat. Among the recruits are Privates “Joker” (Matthew Modine), “Cowboy” (Arliss Howard), and the overweight, bumbling Leonard Lawrence (Vincent D’Onofrio), who earns the nickname “Gomer Pyle” after attracting Hartman’s wrath. Unresponsive to Hartman’s discipline, Pyle is eventually paired with Joker. Pyle begins to improve with Joker’s help, but regresses when Hartman discovers a contraband jelly doughnut in Pyle’s foot locker.

Believing that the recruits have failed to improve Pyle, Hartman adopts a collective punishment policy: Every mistake made by Pyle will reward Pyle and earn the rest of the platoon punishment. The platoon is forced to do pushups while Pyle is humiliatingly forced to eat the doughnut. In retaliation, at night the platoon (including a reluctant Joker) hazes Pyle with a blanket party, restraining him to his bunk, gagging him and beating him with bars of soap wrapped in towels. After this incident, Pyle undergoes a personality change, becoming a model marine. This impresses Hartman, but worries Joker, who recognizes signs of mental breakdown in Pyle, such as talking to his M14 rifle. After graduation, each recruit receives an assignment to an occupational specialty, with most being sent to the infantry; Joker is assigned to Basic Military Journalism. On the platoon’s last night on Parris Island, while Joker is on fire watch he discovers Pyle in the bathroom loading his M14 with live ammunition. Joker attempts to calm Pyle, who executes drill commands and recites the Rifleman’s Creed.

The noise awakens the entire platoon and Hartman, who confronts Pyle and orders him to surrender the rifle. Pyle fatally shoots Hartman, and then commits suicide in front of Joker. In January 1968, Joker has become a corporal and a Marine War correspondent in Vietnam with Stars and Stripes, assigned to a public-affairs unit with Private First Class Rafterman (Kevyn Major Howard), a combat photographer. Rafterman wants to go into combat, as Joker claims he has done. One of Joker’s colleagues mocks his inexperience, claiming he does not have the thousand-yard stare of a man who has seen war. Gunfire interrupts their argument: the North Vietnamese Army begins the Tet Offensive and attempts to overrun the base. The journalism staff is briefed the next day about enemy attacks throughout South Vietnam. Lt. Lockhart sends Joker to Phu Bai. Rafterman accompanies him to see combat. There, they meet the Lusthog Squad, where Cowboy is now a Sergeant and second-in-command. Joker accompanies the squad during the Battle of Huế, where their commander Lt. Touchdown (Ed O’Ross) is killed by the enemy.

After the area is declared secure by the Marines, a team of American news journalists and reporters enter Huế and interview various Marines about their experiences in Vietnam and their opinions about the war. During patrol, Crazy Earl (Kieron Jecchinis), the team’s new squad leader, is killed by a booby trap, leaving Cowboy in command. The squad becomes lost in the rubble and Cowboy orders Eightball (Dorian Harewood) to recon the area. A Vietcong sniper wounds Eightball and the squad medic Doc Jay (John Stafford) attempts to save him against orders, being shot and wounded himself. The sniper leaves the men wounded to draw out more of the squad. Cowboy learns that tank support is not available and orders the team to prepare for withdrawal. The squad’s machine gunner, Animal Mother (Adam Baldwin), disobeys Cowboy and attempts to avenge his friends. He discovers there is only one sniper, but Doc Jay and Eightball are killed when Doc attempts to indicate the sniper’s location. While maneuvering to locate the sniper, Cowboy is fatally shot and dies in Joker’s arms. Animal Mother assumes command of the squad. Under the cover of smoke grenades, the squad advances on the sniper’s position.

Joker discovers the sniper, an adolescent female, and attempts to shoot her, but his rifle jams and alerts her to his presence, and she begins to fire on him. As Joker draws his sidearm, Rafterman shoots the sniper. Animal Mother and the squad converge, and the mortally wounded sniper repeatedly begs for death, prompting an argument about whether or not to kill her. Animal Mother decides to allow a mercy killing only if Joker performs it. After some hesitation, Joker shoots her with his sidearm. The Marines congratulate him on his kill as Joker stares into the distance, displaying the thousand-yard stare. The Marines march toward their camp, singing the Mickey Mouse March. Joker states that despite being “in a world of shit” that he is glad to be alive, and is unafraid. Full Metal Jacket Reviews & Ratings - IMDb IMDb 258 out of 353 people found the following review useful: Kubrick is genius. from Netherlands 10 December 1998 Stanley Kubrick's Full Metal Jacket seems like an uncompleted film, but to me that's poetic justice to one of America's uncompleted wars. The film is harsh and doesn't turn a blind eye to the atrocities of Vietnam.

Kubrick is the true master of atmosphere in film. He makes you feel like you are there. Friends of mine have commented that they only like the first half of the film and that the second half falls apart. I believe Kubrick sets up the first half to be an understandable reflection of the terror that would eventually enter the lives of these soldiers during war. It is easy to identify with being picked on because we all have in some way. Not all of us, on the other hand, have fought in war. Kubrick is the master. Was the above review useful to you? 231 out of 306 people found the following review useful: The best war film I have seen 13 October 2004 NO SPOILERS! This is a review, not a synopsis. First of all I love Kubrick's work, so I came into this with a bias. However I have seen a lot of action and war films, and this one, to an individual who never went to war, seems the most true-to-life, taken as a whole.

This IS how you have to look at this film, incidentally; trying to break it down into two or three parts and say which was better is missing the point of the film, I think. In the same way that "Trainspotting" was an anti-drug film that did not gloss over anything, "Full Metal Jacket" is (for me) an anti-war film that stares straight at the ugliness of war and the potential for violence within almost all people, especially those trained, conditioned, even twisted, into military roles, without preaching even a single time. Less allegory and more applicability! Wonderful! The camera work was superb. I felt like I was walking through the movie with the Marines, from the barracks to the battlefield scenes. I have seen others criticize this film for the voice over, but I felt that it was used sparingly, and was helpful, not overdone. The narrator doesn't say anything that seems out-of-place. Others have commented on the music, the acting, and so on, so I won't add my repetitive comments, except that the drill sergeant is perfect!

The combination of the demented treatment the recruits receive in boot camp with the combined "hours of boredom, seconds of terror" feel of the Vietnam scenes is intense and not for everyone, but feels REAL. 10 out of 10, perfect. Was the above review useful to you? 196 out of 250 people found the following review useful: Kubrick - yay! One of the best war-based movies ever from Dublin, Ireland 5 November 2002 I like Kubrick's stuff. Generally any movie he directed was several notches, in quality terms, above any other director (particularly those working nowdays). Does `Full Metal Jacket' continue to show the mastermind behind `2001', `The Shining' and `Dr. Strangelove'? Yup, it does. As plots go. there isn't much here. I don't particularly care because the script makes up for it. `Full Metal Jacket' is very much a movie of two halves - the first half dealing with a group of conscripts in training at military camp and the hardships they endure under their `hard-as-nails' instructor. The second half is about their exploits in Vietnam itself. Fights? In 'Nam?

Haven't we seen all that before? Yes, but rarely with such an experienced hand at work. And it's the camp scenes that are so wonderful. Gustav Hasford et. Al. have produced an excellent script, particularly for the opening hour. There's barely a moment's pause before you're thrown into the screaming face of Sergeant Hartman. He's hurling abuse at his new recruits with lines so forceful and sharp they'll have you gasping in shock while simultaneously laughing in incredulity. It's the way the script runs in without a pause for breath that helps so wonderfully - and the fact that it's so powerful. It's never just about one-liners from a sergeant, it's also telling a story about how humans work under these conditions. The first half is about how they suffer under their own at home (and very well told it is too), the second half about the human condition under the duress of war. It's an interesting comparison, and a tale well told. The battle may lack some sort of overall context or resolution, but then I feel that's in keeping with the movie - it's about the individual, and not the war, and such elements cannot be easily quantified.

All the characters have a grounded `real world' feel to them, due to both the material and the versatility of the actors. R. Lee Emery is viciously delightful as the manic Sergeant Hartman, while managing to add occasional touches of humanity and a `this is for your own good' attitude through subtle gestures. Matthew Modine is the amiable lead, Private Joker, and as such balances the hard and soft edges admirably (if not spectacularly). The other stand out though is Vincent D'Onofrio as Private Gomer Pyle, the recruit picked upon by Hartman and the other cadets. There's a wonderful innocence about him in the beginning, which transforms into a frightening hardening of his soul later on. The evil/beyond-hope look he gives later on (anyone who has seen the movie will know the one I mean), remains as the most frightening look I've ever seen depicted onscreen. All in all the cast accredit themselves well here. And so to the direction. It's Kubrick. It's good. Once more there's excellent cinematography - check out the haunting, almost claustrophobic landscapes of Vietnam. There's some lovely use of filters (that haunting blue).

There's a brilliant subtle score, that's eerie when used, but never intrusive. There's a very good command of pace - the viewer is never left idle or bored, and the story (particularly in the tremendous first half) flows along smoothly. Great touches abound throughout - check out the many examples, such as the opening scene of Hartman marching right up to the recruits (and to the camera), spitting and screaming vindictive comments, almost as if at the viewer. Some may criticise the almost disconnected feeling you have in the battle scenes towards the end, but I found their stillness, their quietness, and raw power, far more effective than the flash-bang wizardry employed in tripe such as `We Were Heroes'. I can blather on about Kubrick for ages. so I'll stop now. Is `Full Metal Jacket' perfect? Not quite because of the `two halves' syndrome. Although they do contrast and complement one another, the first half is very much the stronger half. The second feels weaker against it. In and of itself the second half would normally be regarded well, but it doesn't have the visceral power that the first does. I love both bits, but I do love one bit more.

This makes the movie suffer just a little. There's so much to like here though that I can't criticise too much - and so much to cherish (especially in the lines delved out). Once more the main man succeeds. Definetely worth seeing. 9/10. Was the above review useful to you? 205 out of 291 people found the following review useful: "This is my rifle. There are many like it but this one is mine." from Järvenpää, Finland 19 December 2001 Legendary Stanley Kubrick - probably the most ingenious film-maker of our time - directed only two movies in the 80's. Someone could thoughtlessly claim that it was a very bad and a slow decade for him but on the contrary: the films happened to be "The Shining" (1980) - the darkest, the greatest and most frightening, superb and impressive horror movie ever made - and "Full Metal Jacket" (1987) the finest war movie in the history of motion picture. The fact that he directed the most beloved classics of two completely different genre is simply unbelievable. First half of "Full Metal Jacket" is spectacular.

Lee Ermey's Drill Instructor Hartman ("I do not look down on niggers, kikes, wops or greasers. Here you are all equally worthless") is probably the most hateful, forbidding and repulsive character in the history of Kubrick's movies. Jack Nicholson in "The Shining" was like a kitten compared to him. The fact that he is so overdone and the dialogue written to him is so sarcastic, biting and clever makes him also the funniest part of "Full Metal Jacket". Even though this is one of the most pressuring Kubrick movies first half can also be seen as an extremely dark comedy. Rest of the cast is just as excellent. Matthew Modine in the leading role as Private Joker is simply fabulous but I guess most of the sympathies goes to Vincent D'Onofrio's unforgettable Private Pyle. Audience really feels sorry for him because he's the most regrettable victim of the training period that turns perfectly ordinary nice blokes into merciless killers. Actually I'm not sure if this is the greatest war movie ever made. I've always had my difficulties of choosing between "Full Metal Jacket" and Francis Ford Coppola's outstanding "Apocalypse.

Now." Both of these films really shows what war is really about. War is never justified, war is never good. Therefore I think war movie should never glorify war but rather show it as what it really is: nightmarish hell. Second half of "Full Metal Jacket" does it. That makes it probably the most pacifistic war movie I've ever seen. Interesting fact: at the end of "Full Metal Jacket" soldiers walk on the battlefield and sing an absurd and silly Mickey Mouse marching song. Childish and senseless marching songs of the first half were very comical. This one should be rather funny too but at this time the audience has already seen way too much. This kind of humor no longer amuses and makes you laugh. Song is the final crown of "Full Metal Jacket". It gives the last touch to all this irrationality and I'm positive that was also Kubrick's intention. I'm pretty sure that this is Stanley Kubrick's greatest movie right after excellent "A Clockwork Orange". Magnificent Masterpiece with a capital M. 10 out of 10. Was the above review useful to you?

92 out of 112 people found the following review useful: The movies finally got Parris Island right from Northern Mariana Islands 22 December 2006 Though I've read only a couple of dozen of the nearly 500 comments on this film, I didn't see any from ex-Marines who'd had the Parris Island experience. I went through PI in 1957. The time period in the picture would have been about 1967, since the in-country sequence includes the '68 Tet Offensive. Little had changed in those 10 years except the switch from M1s to M16s. For the most part Kubrick got Parris Island right on the money. And why shouldn't he have, since his screen DI, Lee Ermey was in fact a real DI before he started acting (he played another DI in "The Boys of Company C," an earlier and lesser Vietnam flick)? He had a built- in technical adviser. The screams and insults and profanity and physical punishment were all part of the DIs armamentarium.

When you're facing up to 75 young strangers you need to immediately establish absolute authority and hang on to it for 13 weeks. Furthermore, you want to break the breakable as soon as you can. My platoon had its Private Pyles and though none ended up as he does in "Full Metal Jacket," I remember that they simply disappeared from our ranks, never to be heard from again. Nothing Ermey as Sgt. Hartman does is exaggerated. Kubrick, however, does exaggerate. Speaking of Pyle's ending, it's almost impossible for me to imagine that a recruit could manage to sneak a clip of live rounds away from the rifle range. Every shooter at the range has his own rifle coach, and every single round is very carefully accounted for. Kubrick started the killing one scene too early. I've read that DIs nowadays are forbidden to use the time-honored f-word, and are not allowed to lay hands on recruits. I don't know if that's good or bad for training (I had my face slapped hard my first day of boot camp and that was just for openers), but then all of us old-timers like to brag about how tough it useta be!

A final note: It's interesting to compare "Full Metal Jacket" to another attempt at a portrayal of Parris Island, Jack Webb's "The DI," made around '55 or '56. Webb tries for authenticity, but as I was to learn a year or so later, his PI was a boy scout camp. Was the above review useful to you? 117 out of 167 people found the following review useful: A Movie that you will always wonder about 11 March 2006 *** This review may contain spoilers *** "Full Metal Jacket" is one of the legends of any service person in basic training. As a young recruit in the Army, we talked about it, and we talked about it further and it is one of those movies that you always find something new to say about.

The beginning, the young men come to be trained as "killers." And it is at this point where you may realize later that not everyone is meant to be in the military, example, Leonard (Pyle.) He is a nice kid with probably a good sense of humor, probably liked among for his sense of humor and would have done better in college, but instead is in the Marine Corp where he does not fit in well. Then you have Hartman (excellent portrayal by Gunny Ermy) who has the heartless job of making killers out of these young men. It is here that you question if he is truly mean spirited or is doing what he knows he has to do by being as hard as he can so that these young men will survive the horrors of war. This is a point that I think is sometimes missed. Joker, a rather smart young man, attempts to take Leonard under his wing and the two become friends until Leonard messes up and is given a "blanket party" by the rest of the platoon. Hartman is the reason for this, but behind this hides another reason; he has to make them tough and solid so that they will work as a team and have each other's backs in combat.

He knows this to be true, but no one else does. This sends Leonard into a psychotic break and for a while, Hartman begins to show interest in Leonard due to his progress. Joker, noticing the change in Leonard, does not bring this to anyone's attention and thus begins his journey through his own private war because he believes from his inaction, he may have been the cause for the aftermath of the confrontation of Leonard and Hartman and the eventual fate of Leonard. After that, the movie shifts and they are in Vietnam and only then does Joker begin to see why Hartman was so mean as he sees his friends become more like Leonard and may be destined to share his fate. When the young sniper is shot is when a part of humanity returns to Joker and we are left to guess at what follows. The performances by Ermy, Modine and D'Onofrio were remarkable, especially D'Onofrio. I often wonder what went on behind the scenes, especially with a seasoned Marine war vet such as R. Lee Ermy on the set. I often wonder how much he contributed to the movie as an actual adviser.

By the way, I am a Gulf War I Army Veteran and I am female, so it could be that I may be looking at this differently. Females usually were not in combat situations, but some were. I do wish the movie would have shown that a little, but as far as making you think, I think the movie did what it was suppose to do. Was the above review useful to you? 110 out of 156 people found the following review useful: Kubrick's version of Vietnam from Tucson, AZ 28 April 2002 Stanley Kubrick always managed to bring something new to his palate whenever he made a film. He brought dark comedy to the screen with Dr. Stranglove, an epic story with Spartacus, and a film more important for its efforts than box office potential in the film Paths of Glory. This is what makes Full Metal Jacket so entertaining. Humor, horror and political commentary are the themes which shape Full Metal Jacket. From the overbearing drill sergeant to the war loving soldiers. It all seems to make sense within this film, never overstepping its bounds or being to subtle.

Kubrick may have alienated some his hardcore fans with such a mainstream-type story, but then again, he helped mainstream movies take a bold step. What doesn't the current cinema owe Kubrick? Was the above review useful to you? 167 out of 278 people found the following review useful: Still modern today, all too modern. from Montigny-lès-Metz, France 30 November 2004 One of the greatest war movies ever, a statement very few will dispute. I will therefore not illustrate this point : thousands have done it before me, often brilliantly.I'd rather lay the stress on Kubrick's modernity in "Full Metal Jacket". Indeed the USA being once again at war, it is interesting to compare the way they wage war these days with the way they did back in the sixties. And the comparison is edifying. Just apply the following statements to Iraq and you will realize NOTHING HAS CHANGED : - the marines are trained to become killing machines without being taught minimum knowledge about the people they come to defend.

- the boys know nothing about the Vietnamese and reason according to American standards : for instance "Cow-Boy" complains half-jokingly half-seriously that there are no horses in Vietnam. Another example is the soldiers singing the Mickey Mouse Club hymn after fighting, which strikes as particularly out of place. - they try in vain to impose democracy through gruesome violence and destruction. Such similarities abound and testify to the film's absolute - and unfortunate - modernity. I wish Kubrick was still with us. I also wish George Bush and his advisers had seen this masterpiece and - most of all - understood its message. They would have avoided another bloody war doomed to fail. Was the above review useful to you? 65 out of 80 people found the following review useful: Repeated viewings reveal more details and connections 29 May 2005 *** This review may contain spoilers *** The first third of Stanley Kubrick's take on the Vietnam War is as powerful and shocking as any film ever made about the military In the film's opening shots, we see close-ups of new Marine recruits getting their heads shaved at a military training post The next shot follows Hartman (R.

Lee Ermey) as he strides through a barracks and completes the first stage of the young men's intimidating indoctrination into the Marine Corps The scene also establishes the measured pace that Kubrick maintains throughout Booming, gloriously profane, and imaginative, Sgt.

Hartman is a force of nature that will mold these boys into killing machines At that point, most war films would turn to the young men, sketch out their pasts and then show their transformation into a cohesive unit These kids are names and archetypes who will react differently to Hartman's approach Kubrick makes Ermey such a mesmerizing force that one key early element is easy to overlook From the first moment we see him in the barber's chair, before we even know his name, it is abundantly clear that Leonard is mad He has that familiar vacant, smiling, dull-eyed expression of evil that Kubrick also uses to define Little Alex in "A Clockwork Orange" and Jack Torrance in "The Shining." The other characters do not see it, and so the inevitable confrontation between Hartman and Leonard is all the more horrifying The middle section of the film establishes Joker's role as a war reporter, working behind the lines during the Tet Offensive of 1968, and his desire for some "trigger time" with his old pals from basic That's where Kubrick shapes his view of the Vietnam war In the third part, a new sociopath named Animal Mother (Adam Baldwin) is introduced, and the focus shifts to a patrol searching through

 the bombed out city of Hue to root out a sniper That is where the filmmakers comment most pointedly on the war itself They see it as a dead-end that serve no purpose That's certainly a valid artistic interpretation of history Many other films have made the same points, often more eloquently But Kubrick isn't interested in eloquence, either The three sections are unmistakably separated from each other The first stands on its own though key elements are stated again at the end For the viewer expecting a "traditional" war film, the result is disconcerting, frustrating, and somehow unfinished Most Kubrick fans will admit that "Paths of Glory" and "Dr.

Strangelove" are more enjoyable, but even if their man is not in top form, "Full Metal Jacket" is challenging, and repeated viewings reveal more details and connections Was the above review useful to you? 55 out of 66 people found the following review useful: Paint It Black from Dallas, Texas 16 November 2009 "With flowers and my love both never to come back ... It's not easy facing up when your whole world is black". So sings the man whose throbbing song marks the film's end, merciless lyrics to describe thematically a story that is as wrenching as it is mesmerizing. There are no villains in this film, only heroic victims. The villains are all off-screen, comfy behind mahogany desks, or dressed for success and giving shrill speeches about how maintaining peace requires war. Strange logic. First it's boot camp, a dreary prospect at best, for an ordinary group of young American men. Here, a sadistic drill Sargent, in colorful language, barks out orders and insults straight from Hades. It's do or die, almost literally, for our greenhorns. It's an ordeal of blackness from which some may never recover.

Still, the grunts learn a valuable lesson; namely, that life is mostly physical, not mental. It's a lesson some ivory tower college professors never learn. But then it's on to an even blacker black ... Vietnam. Combat scenes are rendered believable by effective visuals and terrific sound effects: pounding percussion, amplified sounds of equipment and footsteps across explosive debris, and an always present, ever-so-subtle ... echo. Potent and torturous, these scenes convey a Zen-like immediacy, an impending sense of doom. And then at film's end, those lyrics ... Composed of two, barely overlapping, parts, the script's structure is a bit unorthodox. But the film works, owing to an intensity that never lets up. R. Lee Ermey is of course terrific as the harsh drillmaster. Casting of the young lions is okay, though a tad weak in one or two cases. Insertion of pop songs of the era works well, to amplify the cultural disconnect between a war-torn Vietnam and an indifferent America. Like reading a history book, watching an occasional war movie is good for the soul. It puts one's problems in perspective. For that reason, this particular war movie is better than most.

It's riveting, intense. And the sense of impending blackness hovers ever present over the story's heroic victims, like the sword of Damocles. Was the above review useful to you? Page 1 of 71: Full Metal Jacket Movie Review (1987) | Roger Ebert Tweet Stanley Kubrick's "Full Metal Jacket" is more like a book of short stories than a novel. Many of the passages seem self-contained, some of them are masterful and others look like they came out of the bottom drawer. This is a strangely shapeless film from the man whose work usually imposes a ferociously consistent vision on his material. Advertisement The movie is about Vietnam and was shot on stages and outdoor sets in England. It's one of the best-looking war movies ever made on sets and stages, but that's not good enough when compared to the awesome reality of " Platoon ," " Apocalypse Now " and " The Deer Hunter ." The crucial last passages of the film too often look and feel like World War II films from Hollywood studios. We see the same sets from so many different angles that after the movie we could find our own way around Kubrick's Vietnam.

That would not be a problem if his material made the sets irrelevant. It does not, especially toward the end of the film. You can only watch so much footage of a man crouched behind a barrier, pinned down by sniper fire, before the situation turns into a cinematic cliche. We've been here before, in other war movies, and we keep waiting for Kubrick to spring a surprise, but he never does. The opening passages of "Full Metal Jacket" promise much more than the film finally is able to deliver. They tell the story of a group of marine grunts undergoing basic training on Paris Island, and the experience comes down to a confrontation between the gunnery sergeant ( Lee Ermey ) and a tubby misfit ( Vince D'Onofrio ) who is nicknamed Gomer Pyle. These are the two best performances in the movie, which never recovers after they leave the scene. Advertisement Ermey plays a character in the great tradition of movie drill instructors, but with great brio and amazingly creative obscenity.

All situations in the Marines and in war seem to suggest sexual parallels for him, and one of the film's best moments has the recruits going to bed with their rifles and reciting a poem of love to them. In scene after scene, the war/sex connection is reinforced, and it parallels the personal battle between Ermey and D'Onofrio, who at first fails all of the tasks in basic training and then finds he has one skill: He is an expert marksman. It is likely that in a real boot camp D'Onofrio would have been thrown out after a week, but Kubrick's story requires him to stay, and so he does, until the final showdown between the two men. In that showdown, and at several other times in the film, Kubrick indulges his favorite closeup, a shot of a man glowering up at the camera from beneath lowered brows. This was the trademark visual in " A Clockwork Orange ," and Jack Nicholson practiced it in " The Shining ." What does it mean? That Kubrick thinks it's an interesting angle from which to shoot the face, I think. In "Full Metal Jacket," it promises exactly what finally happens and spoils some of the suspense.

Advertisement There is a surprise to come, however: the complete abandonment of the sexual metaphor once the troops are in Vietnam. The movie disintegrates into a series of self-contained set pieces, none of them quite satisfying. The scene in the press room, for example, with the lecture on propaganda, seems to reflect some of the same spirit as " Dr. Strangelove ." But how does it connect with the curious scene of the Vietnamese prostitute - a scene with a riveting beginning but no middle or end? And how do either lead to the final shoot-out with a sniper? Time and again in the film, we get great shots with no payoffs. In one elaborate setup, for example, Kubrick shows us a TV cameraman and soundman being led by their shirttails as they pan down a line of exhausted marines. At first the shot has power. Then the outcome is that several soldiers deliver neat one-liners, all in a row, all in their turns, all perfectly timed, and the effect is so contrived that the idea of actual battle is lost completely.

Kubrick seems to want to tell us the story of individual characters, to show how the war affected them, but it has been so long since he allowed spontaneous human nature into his films that he no longer knows how. After the departure of his two most memorable characters, the sergeant and the tubby kid, he is left with no charactors (or actors) that we really care much about. And in a key scene at the end, when a marine feels joy after finally killing someone, the payoff is diminished because we don't give a damn about the character. Advertisement The movie has great moments. Ermey's speech to his men about the great marine marksmen of the past (Charles Whitman and Lee Harvey Oswald among them) is a masterpiece. The footage on the Paris Island obstacle course is powerful. But "Full Metal Jacket" is uncertain where to go, and the movie's climax, which Kubrick obviously intends to be a mighty moral revelation, seems phoned in from earlier war pictures. After what has already been said about "Vietnam" in the movies, "Full Metal Jacket" is too little and too late. Popular Blog Posts

Question: Who directed the 1987 film ‘Full Metal Jacket’?
Answer: Stanley Kubrick