Oliver Stone

  • Talk Radio (1988)

    ByChristian Sauvé Movie Review

    (On Cable TV, January 2022) One of writer-director Oliver Stone’s lesser-known 1980s efforts, Talk Radio takes us inside a recording studio while a shock-jock (or at least the 1980s’ version of a shock jock) goes through a few pivotal shows. His Dallas-based show is about to open nationally in syndication, but that’s happening as he deals with a number of crises, the understanding that he’s a prisoner of his confrontational attitude, and he’s inextricably linked to an audience that he despises. Eric Bogosian is magnificent in the lead role, as he adapts his own script and performance in the original play. While Talk Radio’s theatrical origins are best seen in how it stays in the recording studio where much of the action takes place, the film does expand the reach of the action slightly to cover the days in-between those shows, and expand on the various relationships that illustrate the character study. The self-loathing protagonist is not a simple character, as his rapid-fire delivery flits from one unorthodox view to another, haranguing his callers and being a difficult person to live with. It’s quite a performance, and much of the entertainment of the film consists in sitting back and letting Bogosian do his love-it-or-hate-it thing. As the callers multiply, however, the script also switches genres—comedy, tragedy, and drama all combine here. Stone keeps things moving forward and find ways of making even a radio studio feel exciting. I’m not so fond of the rather obvious ending, but it does bring some kind of closure to the film, and it’s perhaps the audio epilogue that gives meaning to the climax more than the climax’s events themselves. While Talk Radio has an air of timelessness, it seems fated to become a period piece: today’s shock-jocks are less likely to be whip-smart provocateurs than partisan rabble-rousers promoting dangerous conspiracy theories and madcap pseudo-scientific nonsense, and that breed of professional nutjobs wouldn’t make as interesting a character to follow.

  • The Hand (1981)

    ByChristian Sauvé Movie Review

    (On Cable TV, January 2022) One of Oliver Stone’s earliest movies as writer-director, The Hand is an oddity in his filmography in that it’s probably a supernatural thriller. I say probably, because in the usual fashion of psychological thrillers going for Todorovian ambiguity, it intentionally presents contradictory material in order to have it both ways. Michael Caine remains one of the best reasons to see the film, as he plays a comic book artist who loses one of his hands in a very contrived accident scene. That’s bad enough, but when his enemies and personal annoyances start dropping dead at the hand of a mysterious entity, we’re either dealing with our protagonist undergoing a psychotic break, or a supernatural disembodied hand going around and doing his dirty subconscious business. Even hard-core horror fans will opt for the psychological explanation… except that the ending of the film has other ideas. OR DOES IT?!? Because, as is often the case with those borderline thrillers, nothing is really expected to make sense. Still, Caine is fun to watch as a writer going crazy (he reportedly did the film for garage-building cash), and the special effects are not bad for the time and budget of the film. There’s some grand-guignol entertainment value to The Hand even if it’s not all that good, and it’s not even close to the worst film in Caine’s filmography.

  • JFK Revisited: Through the Looking Glass (2021)

    JFK Revisited: Through the Looking Glass (2021)

    ByChristian Sauvé Movie Review

    (On Cable TV, November 2021) I’m not sure about you, but my tolerance and sympathy toward conspiracy theories have fallen sharply over the past few years, now that they’ve become one of the most dangerous strands of political discourse in American politics. It used to be that conspiracy theories were the domain of a few crackpots, but they could be enjoyed as an escapist way of imagining a fictional retelling of the world in which everything made sense. Now that the crackpot hordes are more numerous and actively inflicting damage to the civil institutions, well, the fun has gone out of it. So, I’m approaching Oliver Stone’s JFK Revisited in a far less indulgent way than I did for his original film. Theories about JFK’s assassination are not the Rosetta stones of the modern crackpot movement like they used to be, but they’re a central text and rehashing them at this point seems like a cross between a half-hearted reunion tour and a bunch of old crazy people shouting incoherently at their surrounding. While this documentary may lure viewers in by promising them a look at evidence unearthed in the past thirty years, much of the film is the same old breathless ranting. Conducted at a breakneck pace between Stone’s narration, “expert” talking heads, archival clippings and ominous effects, JFK Revisited quickly becomes a caffeine-addled rant jumping between not-so-damning pieces of !!!EVIDENCE!!!, paranoid thinking, overactive pattern recognition and indiscriminate doubt. You can probably get a more entertaining and cohesive experience talking to a dishevelled nutcase at the local watering hole. It’s tiresome and not exactly effective at making its own thesis. One thing that seems completely evacuated of the entire discussion, for instance, is how humans do not always act rationally or impeccably in situations of crisis. There are many things that could be explained away by “the president got shot, people were under stress, innocent mistakes were made” that are here presented as nefarious proofs of… something by… people. Because, at the end of JFK revisited, you can believe anything about everything: No coherent thesis is offered, no compelling new piece of evidence, nothing to convince anyone: It’s specious groupthink aimed at those already convinced that there was something going on, and who will seize on anything to prove to themselves that they are right. And that brings me right back to my first point — I don’t have any sympathy for that kind of confabulation any more. Not when the price to pay for conspiracist thinking is a corrupt administration, a failing democracy, irrefutable excess deaths in the middle of a mitigable pandemic and an overall corrosion of civil discourse. I’m done with conspiracy theorists, and I’m not so incredibly disappointed that Stone would fuel those crackpots for personal gain. (I’ll note once again that the only conspiracy theory about the JFK assassination I halfway entertain is the one, outlined in Bonar Menninger’s Mortal Error, in which the president was killed by a shot accidentally fired by a panicking secret agent riding in the motorcade — but that’s because it appeals to my darkest sense of humour, and explains so much by simple dint of people being so incredibly embarrassed.)

  • The Last Party (1993)

    The Last Party (1993)

    ByChristian Sauvé Movie Review

    (On TV, May 2021) Maybe incredibly self-indulgent, maybe a reflection of a specific time in American society, The Last Party follows a young Robert Downey Jr. as he pokes around the 1992 presidential campaigns, attends both the Democratic and Republican national conventions, and makes scattered social commentary. Maybe there’s an alternate universe in which Downey becomes a socially-conscious satirical filmmaker like his father rather than Iron Man — or turns to political commentary as an alternative to acting. What that would have been like can be glimpsed in this film, although Downey often chooses the role of a provocative dilettante rather than an authentic commentator. The documentary footage is a tour of American politics circa 1992, with both Bush and Clinton popping up alongside party establishment figures and showbiz rabble-rousers such as Spike Lee and Oliver Stone. It’s a strange mix of entertainment and politics from a time when we thought the two were separate. Downey clearly has democratic sympathies but takes potshots at both parties in questioning the status quo, although don’t expect much more than skin-deep aimless dissatisfaction as a guiding thesis. The result doesn’t have anything deep or new to communicate, but the time-capsule aspect of The Last Party can certainly be entertaining. We twenty-first century viewers aren’t necessarily smarter in looking at the film nearly three decades later, but we know how some things turned out and some never changed — Downey almost torched his entire career over addiction issues and re-became a superstar by an incredible fluke. One of the main American political parties went insane and dealing with that means that scant progress can be achieved. Everyone — literally everyone can now point a camera at themselves and spout inane platitudes that are accessible to the entire world. Are we better off? Let’s check again in thirty years.

  • The Doors (1991)

    The Doors (1991)

    ByChristian Sauvé Movie Review

    (On TV, March 2019) I am surprisingly underwhelmed by sex-drugs-and-rock-and-roll biopic The Doors, and even more so considering that it’s from Oliver Stone, a filmmaker who has amply demonstrated his ability to deliver vivid and exciting takes on American history. He doesn’t fail here—it’s more that he half-succeeds, focusing on one specific element without quite bringing everything else together. It’s not uninteresting by the time the credits roll, but the film does itself no favours with a first half-hour spent in a series of false starts and delirious haze. Stone keeps things moving and the least we can say is that the film rarely stays sitting still for long … but the flip side of that is The Doors’ hectic quality, moody intercuts and scattered attention span. The focus here, despite the film’s title is clearly on lead singer Jim Morrison—bolstered by an exceptional performance by Val Kilmer, the film embraces a portrait of the singer as a death-seeking drug-fuelled paranoid. It’s a great topic for a flamboyant film, but maybe not so much for historical accuracy. Saying that the result is pretentious isn’t a criticism as much as an acknowledgement that it has captured a significant facet of Morrison’s personality even as it has downplayed others. Even then, the film does sport some interesting performances in its corners—Meg Ryan and Mimi Rogers, among others, still manage to be memorable. Which, in the middle of a film with great music and an exemplary rock-and-roll superstar subject, is no little feat.

  • Born on the Fourth of July (1989)

    Born on the Fourth of July (1989)

    ByChristian Sauvé Movie Review

    (On DVD, September 2017) Every so often, Tom Cruise’s superstar stature and kooky personal peculiarities can make everyone forget that he can act. Fortunately, there are plenty of counterexamples throughout his career, few as hard-hitting as his performance in Born on the Fourth of July, as he goes from naïve high-schooler to disillusioned Vietnam veteran. Ably written and directed by Oliver Stone, this is a film that, in many ways, stands as a definitive statement on the experience of many Vietnam veterans—lured into service by idealism, wounded in combat, ostracized by American society. It’s not an easy film to watch, but Cruise is really good in the lead role and the movie acts as a witness to an inglorious period in American history that shouldn’t be forgotten. It’s a long movie, but then again it spans more than a decade in a young man’s life, and part of Cruise’s challenge is to portray both a naïve high-schooler and a grizzled veteran. Willem Dafoe also shows up in a pivotal role. Born on the Fourth of July acts as a spiritual sequel of sorts to Platoon, and definitely ranks in the upper third of Stone movies.

  • Midnight Express (1978)

    Midnight Express (1978)

    ByChristian Sauvé Movie Review

    (On TV, September 2017) If being tortured sounds like your idea of a great time, then rush to see Midnight Express as soon as possible. If not, well … never mind. The somewhat-true story of an American being imprisoned in Turkey after being caught smuggling drugs, Midnight Express aims to be a comprehensively awful depiction of a young man imprisoned in inhumane conditions. It really pulls no punches, and seemingly delights in making both protagonist and audiences miserable for as long as possible. All the while asking us to sympathize with an avowed drug smuggler. Alan Parker directs an Oliver Stone script, and the two-hour result feels much longer than it has any right to be. If you suspect that I wasn’t particularly thrilled by the experience, you’d be right—After doing my best to stay within the film for a while, I ended up escaping it by working on something else while the rest of the movie played along, glancing up at the screen at periodic intervals but not really being willing to invest myself any further in the story. Whether this counts as a success for the film should be obvious. Given the dour tone of much of the movie, the somewhat happy ending is a bit of a surprise.

  • JFK (1991)

    JFK (1991)

    ByChristian Sauvé Movie Review

    (On DVD, May 2017) As someone who’s almost viciously opposed to conspiracy theories, I’m about as far as you can imagine from being someone predisposed to like JFK. As a self-conscious “counter-myth” to the official conclusion that Lee Harvey Oswald killed Kennedy, JFK multiplies outlandish claims and plot in order to present a messy version of history in which powerful interests conspired to kill a sitting president. From a substance perspective, JFK often feels like a big ball of nonsense, spitting in all directions and actively introducing bad ideas in the discourse. But the big surprise is that despite all of this, I really liked the movie. It is, in many ways, a triumph of execution. Much of it has to do with its hyperactive style of editing, which feels very modern even twenty-five years later. It’s even more remarkable in that contrarily to much of the rapid-fire digital editing since then, JFK’s editing makes sense both from a content and container perspective: it’s often used to fake documentary proof, distinguish between periods, introduce flashbacks (sometimes even flashbacks within flashbacks) and peer into the characters’ minds … and it almost always makes sense. Acting credentials as solid, with a solid Kevin Costner in the lead, and various supporting roles played by such surprising names as Kevin Bacon, Tommy Lee Jones (in a very atypical role), Donald Sutherland, Gary Oldman and many others who are not always instantly recognizable in their roles. It all culminates in a barnstormer of a speech that will leave even conspiracy-skeptics cheering for truth and untainted democracy. For a three-hour film, JFK flies by and impresses even as a propaganda piece. It’s kind of amazing, actually, that such a piece of firebrand cinema would be so closely associated with major studio Warner Brothers. The years have been kind to JFK, even though its theory seems increasingly dubious (twenty-five years later, and no deathbed confessions…), its craft seems just as solid now as ever … and perhaps a bit less disorienting as it must have been then.

  • Snowden (2016)

    Snowden (2016)

    ByChristian Sauvé Movie Review

    (Video on-Demand, February 2017) I expect that we’ll continue to talk about Edward Snowden and whether he’s a hero or villain for a long while: Snowden is young, and currently being used as a pawn in geopolitical games … his place in history hasn’t been finalized yet. (I said the same three years ago about Julian Assange in the context of The Fifth Estate, and my opinion of Assange today is strikingly different than what it was back then—people’s lives aren’t limited to a single act.) Still, it takes someone like Oliver Stone to boldly delve into events barely more than three years old and try to come to some kind of a conclusion. As a look at Snowden-the-man, the film is definitely on its subject’s side: He’s shown as a disappointed idealist, a patriot whose opinions eventually diverge from the system he’s been asked to serve. Technical wizard, sympathetic boyfriend, fugitive of circumstances: Snowden is all of those and the film creates a clean dramatic arc for him as he’s invited at the centre of the American Intelligence Community and comes to dislike what he sees. Joseph Gordon-Levitt is very good as Snowden, incarnating a real-life subject to the point where the film can afford to feature the real Snowden showing up in the film’s coda. It’s also kind of amazing to see Zachary Quinto and Melissa Leo play real people that we can recognize (respectively: Glen Greenwald and Laura Poitras). Stone’s direction is assured, and his script manages to make a complex subject matter accessible even to non-specialists: As an exploration of IT security matters, Snowden is better than most similar films, with acceptable deviations from reality as we know it now. (It’s also, crucially, consistent with Citizenfour.) It’s relatively entertaining, although not without a few lengthier sections and some overly dramatic moments. Snowden is not quite as visually daring as The Fifth Estate (nor is Snowden as fascinating/infuriating as Assange), but it’s a more controlled film, and one that, I suspect, will stand the test of time quite a bit better. But that will depend quite a bit on what happens to Snowden next…

  • W. (2008)

    W. (2008)

    ByChristian Sauvé Movie Review

    (On DVD, January 2017) I won’t go so far as to say that time can forgive anything—including a wholly unnecessary invasion of a foreign country that ended up killing tens of thousands of people and upsetting the geopolitical balance of an entire region—but barely a week into the Trump administration, I’m far more receptive to a sympathetic portrait of George W. Bush. It took noted agitator Oliver Stone to do it as well, and he didn’t even wait until the end of Bush’s second term to release it. Watching W. ten years later, it’s remarkable how Stone seemed to have been on target even then. For all of the revelations of the past ten years, the events chronicled in W. (hopping in-between a quick biography of Bush’ life, intercut with crucial moments in the ramp up to the 2003 American invasion of Iraq) still ring truthfully, with the personalities of the people involved being immediately recognizable. For those who overdosed on political commentary at the time (myself included), there’s a treat in reactivating those near-forgotten neural pathways and being able to recognize public figures merely from the actors playing them. (Thandie Newton as Condoleeza Rice—woo!) Their portrayal seem harsh but fair—and having Dick Cheney deliver an impromptu presentation on the harsh realities of strategic geopolitics is enough to make one wish for an evil genius rather than an incompetent salesman in the White House. (But I digress … or do I?) Suffice to say that W. may not exonerate Bush from what should weigh on his conscience, but it does humanize a president that was easy to caricature, even though some of the dad/son dynamics in-between Josh Brolin (a fine Bush Jr.) and James Cromwell (a very good Bush Sr.) seem overdone. All I know is that I ended up enjoying W. far more than I expected, and not all of it has to do with validating pointless hours obsessing over American politics.

  • Platoon (1986)

    Platoon (1986)

    ByChristian Sauvé Movie Review

    (On TV, November 2016) There have been many great movies about Vietnam, but for all of the respect I (and others) have for Apocalypse Now, The Deer Hunter or Full Metal Jacket, I think that Platoon is better than all of them in giving us a cohesive soldier’s view of the conflict, without necessarily building up to a larger metaphorical point. (Apocalypse Now happens in parallel with Vietnam, The Deer Hunter is about the scars it left and Full Metal Jacket is a collection of great sequences with a threadbare link between them.) Oliver Stone writes and directs from his own experiences, and the result has an authenticity that’s hard to shake off. From the first few moments when our protagonist (Charlie Sheen, baby-faced, sympathetic and humble) steps on the ground and sees the haunted veterans, it’s obvious that this is going to be a wart-and-all portrayal of the conflict. By the time our protagonist hooks up with the local drug users, we’re clearly far from pro-war propaganda pieces. Platoon is also canny in how it sets up a conflict between two senior soldiers (one, played by a suitably intense Willem Dafoe, trying to be civilized about an uncivilized situation, and the other, played with even more intensity by Tom Berenger, surrendering to the madness) that compel our protagonist to choose a camp. Terrifying combat sequences all build up to a natural conclusion to our viewpoint character’s war experience. Lauded upon release, Platoon is no less effective thirty years later—largely because it sticks close to its own authenticity and doesn’t try to make more than what’s already a significant point about the combat experience.

  • Natural Born Killers (1994)

    Natural Born Killers (1994)

    ByChristian Sauvé Movie Review

    (Second viewing, On TV, October 2016) I first watched Natural Born Killers on VHS two decades ago, given to me by a friend who thought it was quite the experience. He was right (for summers after, I’d refer to myself jokingly as “Natural Born Christian” whenever I shaved my head), and watching the film again today only highlights it. There isn’t much to the basic plot, as an abused couple goes on a crime rampage, are arrested, become unlikely folk heroes and then react to an attempt to turn them into TV stars during a live interview from the prison in which they’re held. But the way director Oliver Stone chooses to put together the film is special. Blending impressionistic techniques such as animation, double-cutting, various film stocks, repeated lines, colour shifts and tilted cameras (among others), Natural Born Killers aims to create a chaotic atmosphere and reach for bigger themes about violence and media amplification in American society. It still works remarkably well, largely due to solid performances and in-your-face direction. This was Woody Harrelson’s first turn as a quasi-villain, and it’s still creepily effective today. Meanwhile, Juliette Lewis is very good in a role very much in-line of her early persona role—and I say this as someone who doesn’t usually like that persona. Elsewhere in the movie, Rodney Dangerfield is brutally effective as the star of a demented expeditionary sitcom, while Robert Downey Jr. gets a small but memorable role as a ratings-obsessed TV personality. Natural Born Killer is noisy, confusing, exhilarating, depressing and sometimes even beautiful. It remains quite a viewing experience with a relevant message even more than twenty years after release. (Amusingly enough, the channel on which I watched the film at very low volume did not have fully working subtitles, adding to the messy chaos of the viewing experience.)

  • U Turn (1997)

    U Turn (1997)

    ByChristian Sauvé Movie Review

    (In French, On TV, September 2016) There’s something unusual in seeing Oliver Stone delivering a small-town crime thriller like U-Turn: Stone usually takes on wider-scale topics, even in movies like Natural Born Killers where the crime spree is an excuse to talk about violence as a social phenomenon. Here, we’re down to a man (Sean Penn, not bad) unwillingly stuck in a small desert town and getting embroiled in the simmering madness of its inhabitants. Of course, this being a nineties Stone film, it’s quite unlike anyone else’s take on the same topic. Even as a small-scale dark crime comedy, it’s handled with multiple film stocks, quick cuts, impressionistic directing and a dream-like effect. It’s as if Stone reused the Natural Born Killers bag of tricks in service of a B-grade thriller just to see what would happen. As a result, U Turn may not be a classic, but sure holds our attention. It helps that there’s some terrific casting here. Billy Bob Thornton is menacing as a mechanic with uncommon power over our protagonist; Nick Nolte is imposing as a man willing to have his wife killed; Clare Danes and Joaquin Phoenix show up as a dangerous couple, while John Voigt pops up as a blind Indian beggar. But the film partially belongs to Jennifer Lopez, cranking up the heat as a femme fatale. (Being arguably miscast as a Native American doesn’t matter much given the craziness quotient of the film.) As a sunny noir thriller, U-Turn is wild, expressionistic, exploitative and overwhelming, but it’s never dull.

  • Savages (2012)

    Savages (2012)

    ByChristian Sauvé Movie Review

    (On-demand Video, November 2012) Oliver Stone certainly knows how to handle criminal mayhem, and if Savages isn’t as good overall as some of its strongest individual moments may suggest, it’s a fairly strong entry in the “California noir” thriller sub-genre.  Strikingly contemporary with references to legal marijuana, omnipresent technology (including criminal IT teams) and America’s latest two wars, this efficient adaptation of Don Winslow’s hard-hitting novel is a colorful blend of upstanding criminals of all stripes.  Central to the tale is the happy ménage-à-trois between two dedicated drug entrepreneurs and the woman who loves them both, but Savages’ best moments come from the peripheral players: A completely corrupt DEA agent played by John Travolta, a merciless enforcer incarnated by Benicio del Toro and a powerful drug baron handled with icy grace by Salma Hayek.  All of them seem to be enjoying their turn to the dark side, so much so that the nominal protagonists of the film seem to fade away.  What doesn’t fade, fortunately, is Stone’s attempt to translate the energy of the novel onto film, with self-assured choices, a colorful palette and plenty of narrative forward rhythm despite Savages’ 140-minutes running time.  Alas, he also chooses to end on a double-triggered ending that gives unfortunate credence to the stereotype that every ending is happier in Hollywood, ruining a perfectly adequate conclusion with one that may unsettle even happy-ending fans. (Yes, it’s sort-of-prefigured with some narrative warnings at the very beginning of the film.  No, it’s still not all that effective –a more powerful film may have been produced by flipping the endings.)  Also unfortunate: Blake Lively’s inert voiceovers that seem to be taken from laborious readings of trite material, and the way some subplots seem abandoned mid-way through.  Still, there’s a lot to like in the way those modern criminals try to gain advantage over each other, various methods and tricks all eventually leading to a desert confrontation.  It’s a bit of a treat for thriller fans looking for something a bit more ambitious than the usual straight-to-video suspense film.  Stone may have trouble focusing, but despite significant missteps, Savages frequently clicks when other thrillers chug along, and that’s enough of a distinction to warrant a look.

  • Wall Street: Money Never Sleeps (2010)

    Wall Street: Money Never Sleeps (2010)

    ByChristian Sauvé Movie Review

    (In theaters, September 2010) As someone who’s on record as writing that the original Wall Street was “the definitive film of the eighties”, it goes without saying that I had been dreading the idea of a sequel: why mess with quasi-perfection?  As seductive as the idea was to revisit those characters in the context of another financial meltdown, there’s no need to say that the idea of a sequel was entirely useless.  After seeing the film, I still feel the same way: While director Oliver Stone’s film (he didn’t write it, curiously enough) is a lucid treatment of the 2008 financial crisis and has some interesting things to say about the shared hallucination that are today’s financial markets, it merely plays on the existing Wall Street brand and quickly becomes bogged down in a superfluous romantic drama featuring perhaps the blandest young couple in contemporary cinema.  (Shia LaBeouf’s continued acclaim remains a mystery to me given his lack of on-screen personality, but he’s a charismatic powerhouse compared to Carey Mulligan.)  With serial numbers filed off, Wall Street 2 is a lucid high-stakes drama skillfully dramatizing a difficult subject… but as a sequel, it lacks some oomph and magic.  Still, occasionally, it shines a bit brighter than usual.  One fascinating facet of the film’s direction is the blatant use of infographics to illustrate what the characters are saying, reflecting the way our world has become far more abstract since 1987, to a point that we even think in information being presented as computer graphics.  While Gekko’s character has been considerably softened (a good creative choice, given the character’s age and his prison experience), Michael Douglas’ august performance still makes him one of the film’s chief attraction –to say nothing of a delightful cameo from another character in the Wall Street universe.  What may be missing from the film, however, is the kind of dripping popular outrage that keen observers of the recent meltdown have felt at the way corruption, sociopathy, greed and sheer criminal behaviour are endemic in the financial sector.  Wall Street 2 never gets angry the way the original did, and seems content to play with money as long as the right people get some.  But wouldn’t that, in itself, be the most damning indictment of our times as seen from 1987?