Stone, Oliver

Platoon (Special Edition)

Platoon put writer-turned-director Oliver Stone on the Hollywood map; it is still his most acclaimed and effective film, probably because it is based on Stone's firsthand experience as an American soldier in Vietnam. Chris (Charlie Sheen) is an infantryman whose loyalty is tested by two superior officers: Sergeant Elias (Willem Dafoe), a former hippie humanist who really cares about his men (this was a few years before he played Jesus in Martin Scorsese's The Last Temptation of Christ), and Sergeant Barnes (Tom Berenger), a moody, macho soldier who may have gone over to the dark side. The personalities of the two sergeants correspond to their combat drugs of choice--pot for Elias and booze for Barnes. Stone has become known for his sledgehammer visual style, but in this film it seems perfectly appropriate. His violent and disorienting images have a terrifying immediacy, a you-are-there quality that gives you a sense of how things may have felt to an infantryman in the jungles of Vietnam. Platoon won Oscars for best picture and director. --Jim Emerson

Emotional look at the war in Vietnam, seen through the eyes of a young man who discovers that the Viet Cong are not the only enemies he has to fight.
Genre: Feature Film-Action/Adventure
Rating: R
Release Date: 11-JAN-2005
Media Type: DVD

JFK - Director's Cut (Two-Disc Special Edition)

Director Oliver Stone added 17 minutes of previously unseen footage for the "director's cut" edition of his hypnotic courtroom epic about the investigation into the assassination of President John F. Kennedy in November 1963. That fateful day in Dallas set in motion a sequence of events that would only intensify the mystery behind Kennedy's death, causing New Orleans District Attorney Jim Garrison (Kevin Costner) to begin an investigation that would gradually become a personal obsession. Bravura filmmaking combined with controversial treatment of historical facts and audacious speculation, this breathtaking revision of history presents a mesmerizing parade of shady figures and conspiracy theories, unfolding like a classic mystery based on history's greatest unsolved crime. A technical triumph boasting Oscar-winning cinematography and editing, Stone's film is guaranteed to grab the viewer's attention with its daring take on the JFK controversy. The stellar supporting cast includes Tommy Lee Jones, Joe Pesci, Jack Lemmon, Donald Sutherland, Sissy Spacek, Kevin Bacon, and Gary Oldman as Lee Harvey Oswald. --Jeff Shannon

A film that chronicles New Orleans district attorney Jim Garrison's investigation into the assassination of President John F. Kennedy. It explores all the credible assassination theories that have raised the nation's persistent questions, doubts and suspicions.

Alexander, Revisited - The Final Cut (Two-Disc Special Edition)

For better or worse (and in this case, it's mostly for better), Oliver Stone's Alexander Revisited should stand as the definitive version of Stone's much-maligned epic about the great Asian conqueror. Following the DVD release of his previous Director's Cut, Stone offers a video introduction here, explaining why he felt a third and final attempt at refining his film was necessary. Essentially, he's using this opportunity to re-create the "road show" format of the Biblical epics of the 1950s and '60s, with a three-and-a-half-hour running time (with an intermission at the two-hour mark) including 45 minutes of previously unseen footage. Stone has also significantly restructured the film, resulting in substantial (if not exactly redemptive) improvements in its narrative flow. Alexander (played in a torrent of emotions by Colin Farrell) is dying as the film opens, his final moments serving to bookend the film's epic story, which incorporates flashback sequences to flesh out the Macedonian king's back-story involving the turbulent battle of fate between his father, King Philip (Val Kilmer) and his scheming sorceress mother Olympia (Angelina Jolie, ridiculous accent and all), who insists that Alexander is literally a child of the gods.

In Stone's final cut, epic battles remain chaotic (although Alexander's strategy is somewhat easier to follow, with on-screen titles indicating left, right, and center during his army's greatest maneuvers) and the ultra-violent battles are more graphically gory than ever (hence their "unrated" status). The animalistic lovemaking of Alexander and his barbarian bride Roxana (Rosario Dawson) is slightly extended (with Dawson as ravishing as ever), and Stone's additional footage also improves the overall arc of Alexander's relationship with his closest generals and male companions, although his most intimate homosexual encounters remain mostly discreet. As Alexander Revisited makes clear, the film's weaknesses remain unavoidable, but Stone deserves credit for recognizing how a longer running time, and more disciplined narrative structure, would bring Alexander closer to the respect it never earned from critics and filmgoers alike. This is unquestionably a better film than it used to be, leaving us to wonder why it took three separate efforts to shape Alexander into its best possible presentation. --Jeff Shannon

Now available is an all new and completely unrated version of Oliver Stone's incredible epic film, loaded with nearly 40 minutes of additional never-before-seen footage, that takes the film to a new level of realism and intensity. Restructured and expanded into two acts with one intermission, Oliver Stone's vision is delivered the way he originally conceived and intended. With the new, unrated and graphic battle scenes and unadulterated sensuality, it's the movie you couldn't see in theatres, now available on DVD for the very first time!

DVD Features:
Introduction
Theatrical Trailer

The Doors (Special Edition)

Thanks in large part to its meticulous re-creation of the late-1960s and early-'70s rock scene and the uncannily authentic performance by Val Kilmer as legendary Doors frontman Jim Morrison, Oliver Stone's hypnotic film biography is standing the test of time. Capturing the carefree mood of the Age of Aquarius, the film charts the meteoric rise of the Doors on the California club circuit (including a memorable scene showing the creation of the hit "Light My Fire"), and chronicles the band's exploits with hallucinogenics and Morrison's battles against charges of public indecency on stage. Kilmer's performance is hauntingly perfect, and performances by Meg Ryan, Kathleen Quinlan, and Kyle MacLachlan are similarly impressive. The movie doesn't fully probe the depths of Morrison's character, but as a portrait of excess it is vividly true to the spirit of the self-destructive poet known to his fans as "The Lizard King." --Jeff Shannon

Salvador (Special Edition)

Director Oliver Stone (Platoon, JFK) offers up this brilliant, engrossing true-life account of the violent civil war in El Salvador as told through the perspective of a has-been journalist trying for one last grasp at glory and finding the true horror of war. James Woods is freelance journalist Richard Boyle, who leaves San Francisco broke with his drug-addled, disc-jockey buddy (Jim Belushi) to cover the escalating conflict and hopefully return to his former stature as a war correspondent. What he finds is a nation torn by random violence, shifting ideologies, poverty, and the malevolent influence of the United States. Boyle tries to make sense of the brutality he sees while extracting his girlfriend from the war zone and saving his own life. Featuring John Savage (The Deer Hunter) as an earnest photojournalist, this is a fascinating and riveting depiction of the bloody strife that tore apart a nation and mirrored the disillusionment of the Vietnam era. --Robert Lane

James Woods gives his "fullest, most humane, most emotional performance"(New York Magazine) to date in this "gritty, harrowing and bold thriller"(Gannett Newspapers). It's 1980. Young men, women and children are being brutally killed in a bloody civil war in El Salvador. It'sa horrific setting...but a perfect one for Richard Boyle, a sleazy war photojournalist whose careerneeds a jumpstart. Armed with his camera, Boyle joins the front lines in an attempt to capture atrocious-but-valuable images of pain and horror. But with each picture he takes, he catches a tragic side of humanity that ignites his long-buried compassion. And he unexpectedly discovers something thatwill change him forever: his soul. *1986 Actor (James Woods); Original Screenplay

Natural Born Killers - Oliver Stone Collection

Oliver Stone would like to have the last word on America's media culture of voyeurism and violence, but whatever he's trying to say in this grisly, unconventional movie comes across terribly garbled. Woody Harrelson and Juliette Lewis play traveling serial killers who become television celebrities when a Geraldo-like personality (Robert Downey Jr.) turns their madness into the biggest story in the country. Stone extensively rewrote an original script by Quentin Tarantino, and he employs a mosaic of different film stocks, video, and pop pastiches to create a sense of blurred lines between visual phenomena. (The background on Lewis's character's life as an abused child, for instance, is presented as a sitcom starring Rodney Dangerfield.) But the result of these experiments is a pompous, even amateurish effort at grasping the reins of a real-life national debate. One almost wants to tell Stone to sit down and raise his hand next time if he thinks he has something to say. The controversial director would like Natural Born Killers to be nothing less than a monumental achievement, but it's one of the emptier entries in his filmography. --Tom Keogh

The story of a husband and wife who are serial killers involved in a cross country killing spree that elevates them from fugitives into media celebrities.

DVD Features:
Alternate endings:(4:42)
Audio Commentary:Director's Commentary
Deleted Scenes:(22:44)
Other:"Chaos Rising" (36:36)

Born on the Fourth of July (Special Edition)

The second film in Oliver Stone's Vietnam trilogy moves from the brutality of war in Platoon to its equally traumatic aftermath. Based on the memoir of combat veteran Ron Kovic, the film stars Tom Cruise as Kovic, whose gunshot wound in Vietnam left him paralyzed from the chest down. He is deeply embittered by neglect in a veteran's hospital and by the shattering of his patriotic idealism because of the horror and futility of the Vietnam conflict. While painfully and awkwardly adjusting to his disability and a changing definition of masculinity, Kovic joins the burgeoning movement of antiwar protest, culminating in a climactic appearance at the 1976 Democratic national convention. A powerfully intimate portrait that unfolds on an epic scale, Born on the Fourth of July is arguably Stone's best film (if you can forgive its often strident tone), and Cruise's Oscar-nominated role is uncompromising in its depiction of one man's personal anguish and political awakening. --Jeff Shannon

Tells the story of Ron Kovic, from the zealous teen who volunteers to fight in Vietnam, to the embittered paralyzed veteran who became a voice for the disenchanted.
Genre: Feature Film-Action/Adventure
Rating: R
Release Date: 14-FEB-2006
Media Type: DVD

Any Given Sunday (Special Edition Director's Cut) - Oliver Stone Collection

Any Given Sunday, Oliver Stone's salute-cum-exposé of pro football, belabors some pretty obvious points for nigh onto three hours; but between the frenetic editing, the pounding rap-music beats, and several flashy performances, it's certainly never dull. Al Pacino, coach of the fictional Miami Sharks (the NFL declined involvement in this production), struggles with the most time-honored of sports movie dilemmas: what to do with the old friend who's past his prime and the young hotshot who could save the franchise but first has to learn what being a team player is all about. Comedian Jamie Foxx does a marvelous dramatic turn as the rookie quarterback whose ego and talent are equally impressive, while Pacino seems more at ease in Oliver Stone Land than any actor since regular James Woods (on hand as well as a sleazy team doctor). Prowling the sidelines, shouting spittle-flecked orders, seizing up in almost physical pain when a play goes the wrong way, Pacino is as unashamedly--and entertainingly--hyperbolic as Stone's whirling montages of boiling storm clouds, bloodthirsty fans, and players smashed into the mud. (Once again football, perhaps the most sophisticated of team sports, is viewed cinematically as a bunch of guys hitting each other in slow motion.) Unfortunately, all the self-conscious mythologizing and pumped-up macho posturing that Stone can muster doesn't conceal a clichéd, slapped-together script, whose few good ideas (mostly about race in America) jostle about with several hoary, terrible ones--including a too-literal analogy of football players as modern gladiators. (To drive the point home, Stone includes Charlton Heston--the aging Ben-Hur--in one of many star-powered cameos.) All in all, Any Given Sunday is never dull, but never very enjoyable, either. --Bruce Reid

Wall Street

Michael Douglas won an Oscar for perfectly embodying the Reagan-era credo that "greed is good." As a Donald Trump-like Wall Street raider aptly named Gordon Gecko (for his reptilian ability to attack corporate targets and swallow them whole), Douglas found a role tailor-made to his skill in portraying heartless men who've sacrificed humanity to power. He's a slick, seductive role model for the young ambitious Wall Street broker played by Charlie Sheen, who falls into Gecko's sphere of influence and instantly succumbs to the allure of risky deals and generous payoffs. With such perks as a high-rise apartment and women who love men for their money, Charlie's like a worm on Gecko's hook, blind to the corporate maneuvering that puts him at odds with his own father (played by Sheen's offscreen father, Martin). With his usual lack of subtlety, writer-director Oliver Stone drew from the brokering experience of his own father to tell this Faustian tale for the "me" decade, but the movie's sledgehammer style is undeniably effective. A cautionary warning that Stone delivers on highly entertaining terms, Wall Street grabs your attention while questioning the corrupted values of a system that worships profit at the cost of one's soul. --Jeff Shannon

Michael Douglas won an Oscar for perfectly embodying the Reagan-era credo that "greed is good." As a Donald Trump-like Wall Street raider aptly named Gordon Gecko (for his reptilian ability to attack corporate targets and swallow them whole), Douglas found a role tailor-made to his skill in portraying heartless men who've sacrificed humanity to power. He's a slick, seductive role model for the young ambitious Wall Street broker played by Charlie Sheen, who falls into Gecko's sphere of influence and instantly succumbs to the allure of risky deals and generous payoffs. With such perks as a high-rise apartment and women who love men for their money, Charlie's like a worm on Gecko's hook, blind to the corporate maneuvering that puts him at odds with his own father (played by Sheen's offscreen father, Martin). With his usual lack of subtlety, writer-director Oliver Stone drew from the brokering experience of his own father to tell this Faustian tale for the "me" decade, but the movie's sledgehammer style is undeniably effective. A cautionary warning that Stone delivers on highly entertaining terms, Wall Street grabs your attention while questioning the corrupted values of a system that worships profit at the cost of one's soul. --Jeff Shannon

In this riveting, behind-the-scenes look at big business in the 1980's, an ambitious young broker (Charlie Sheen) is lured into the illegal, lucrative world of corporate espionage when he is seduced by the power, status and financial wizardry of Wall Street legend Gordon Gekko (Michael Douglas). But he soon discovers that the pursuit of overnight riches comes at a price that's too high to pay.

Natural Born Killers

Oliver Stone would like to have the last word on America's media culture of voyeurism and violence, but whatever he's trying to say in this grisly, unconventional movie comes across terribly garbled. Woody Harrelson and Juliette Lewis play traveling serial killers who become television celebrities when a Geraldo-like personality (Robert Downey Jr.) turns their madness into the biggest story in the country. Stone extensively rewrote an original script by Quentin Tarantino, and he employs a mosaic of different film stocks, video, and pop pastiches to create a sense of blurred lines between visual phenomena. (The background on Lewis's character's life as an abused child, for instance, is presented as a sitcom starring Rodney Dangerfield.) But the result of these experiments is a pompous, even amateurish effort at grasping the reins of a real-life national debate. One almost wants to tell Stone to sit down and raise his hand next time if he thinks he has something to say. The controversial director would like Natural Born Killers to be nothing less than a monumental achievement, but it's one of the emptier entries in his filmography. --Tom Keogh