Katonák voltunk

Nagyon korrekt hozzájárulás a műfajhoz, amit csak az olcsón tálalt vizuális forma és a túlzó patetizmus (lassított felvételek) hátráltat. De egyébként a Katonák voltunk filmnek nem hiányzik sem a lendület, sem a nyers realizmus, sem a sűrű gondolati alap, sem az erős vezető személyiség Mel Gibson előadásában. Ő a legjobb az egész filmben. (2002.08.16)

As long as Wallace attacks in the mode of heroic soldiers who shoot, run, or die in slow motion, each shot or fall affects me so strongly that I began to search for a handkerchief surprisingly quickly. However, once the pleasant pathos starts to melt into words and endless diluted phrases about pride, wives, or dying for the homeland, the charm disappears. Then suddenly the sloppiness of the screenplay or occasional visual routine starts to surface. If it weren't for the fact that Hal is literally written for Mel Gibson, who can shoot to the absolute maximum in similar roles, the outcome would be one class lower. (2006.05.06)

50 years behind Stone and 100 behind Coppola. A propaganda film with a blue-eyed hero and nickel-and-dime moralizing. Some of the action sequences are nice, but they are far away from building on the gems from the 70's and 80's. Incorrigible cinematography, which, after magnificent filmmaking with the idea of turning to the subject of war again, turns to cheap poses and pathos (although undoubtedly well-meaning). (2007.02.12)

Le Massacre... deserved a better screenplay. But leaving out a couple of things would have been enough. The introductory elimination of the French unit is great. So are the excellent battle scenes in the second half, they give that proper touch of reality and the burned, half-dead soldiers will make you feel pretty bad. The disparity with the utterly pathetic lines about dying proudly for one’s country is irritating. Much better movies have been made about Vietnam. Fix bayonets! (2012.09.12)

Randall wrote Braveheart for his buddy Mel, and his buddy Mel promised his buddy Randall he'd be in his movie, a film that pretends to be a profound and well-crafted work, but it is not. The problem is that Wallace is not a very skilled director, the locations that are supposed to simulate Vietnam are very unconvincing and some scenes (especially the one with the angry photographer) look so awkward that I was ashamed of him. A truly unexpectedly bad film. (2002.12.04)