United Artists | Release Date: August 15, 1979
8.8
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Universal acclaim based on 426 Ratings
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383
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9
EpicLadySpongeFeb 28, 2016
This remake proves that remakes just don't screw up just as far as the original! Ok, there are a few exceptions, but any who, Apocalypse Now Redux is enjoyable for 153 minutes of your faithful time!
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9
SpangleOct 19, 2013
The original film is engrossing, riveting, brilliantly directed, and superbly acted. Easily the best films I have ever seenandalso one of the weirdest films I have seen in general.
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9
grandpajoe6191Sep 10, 2011
Francis Coppola's haunting war movie "Apocalypse Now" presents (obviously) powerful performance from Marlon Brando and a lasting appeal. Easily one of the greatest, and possibly the darkest, war movie I have ever encountered. -REDUX VERSION-Francis Coppola's haunting war movie "Apocalypse Now" presents (obviously) powerful performance from Marlon Brando and a lasting appeal. Easily one of the greatest, and possibly the darkest, war movie I have ever encountered. -REDUX VERSION-
The movie once again throws us off the hook with chilling cinematography and realism. However, most of the added parts are trivial and have no depth in scene compared to the original scenes of "Apocalypse Now".
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10 of 11 users found this helpful101
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10
imthenoobSep 25, 2015
Never saw it until it popped up on Netflix and I am glad that I did. It's such a fantastic movie, I really have no complaints about it and that's pretty rare. Glad I watched the extended cut too because it really does help tie the film together.
1 of 1 users found this helpful10
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10
cameronmorewoodNov 7, 2012
Apocalypse Now is one of the most awe-inspiring films of all time. It truly is, in every sense of the word, a masterpiece.
2 of 3 users found this helpful21
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7
drlowdonOct 27, 2015
Sent on a mission to assassinate a rouge officer, Captain Willard (Sheen), must head deep into enemy territory, coming face to face with the horrors of war.

A superb central performance from Martin Sheen helps Apocalypse Now through a
Sent on a mission to assassinate a rouge officer, Captain Willard (Sheen), must head deep into enemy territory, coming face to face with the horrors of war.

A superb central performance from Martin Sheen helps Apocalypse Now through a sometimes uneven script and lack of pacing meaning the film largely still stands up today.
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9
axelkochFeb 8, 2014
Being unique is not always a positive attribute for a film, but with Apocalypse Now, Francis Ford Coppola’s devastating portrayal of the Vietnam War, it most certainly is. At least in my opinion however, the two-and-a-half-hour-long depictionBeing unique is not always a positive attribute for a film, but with Apocalypse Now, Francis Ford Coppola’s devastating portrayal of the Vietnam War, it most certainly is. At least in my opinion however, the two-and-a-half-hour-long depiction of war’s atrocities is not that great when regarded simply as a film; it’s much more a work of art, drastically showcasing the futility of this notorious bloodshed, resulting in millions of casualties over its duration of almost 20 years. Apocalypse Now fuels hatred and incomprehension for these happenings in the audience and makes a major pacifistic statement through the metaphorical journey of one man. But apart from the stunning cinematography, the 1979 epic lacks some cinematic traits to make it a thoroughly thrilling and rewatchable experience and can thus not get a top rating from me when regarded as a film. Expand
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10
chwDec 21, 2015
Possibly the greatest war movie of all time, and definitely the greatest Vietnam movie. The performances are great. Even Marlon Brando, considering he was a drunken baffoon while filming this among other **** The story was fantastic. ThisPossibly the greatest war movie of all time, and definitely the greatest Vietnam movie. The performances are great. Even Marlon Brando, considering he was a drunken baffoon while filming this among other **** The story was fantastic. This should have won over Kramer vs. Kramer. **** Kramer vs. Kramer. It's slow as hell. This movie is paced extraordinarily. Expand
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10
MovieMasterEddyApr 3, 2016
In one of the scenes that have been added to Francis Ford Coppola's "Apocalypse Now," Captain Willard (Martin Sheen) smokes opium with a French widow (Aurore Clément) who lives in the crumbling imperial grandeur of her family's remote jungleIn one of the scenes that have been added to Francis Ford Coppola's "Apocalypse Now," Captain Willard (Martin Sheen) smokes opium with a French widow (Aurore Clément) who lives in the crumbling imperial grandeur of her family's remote jungle rubber plantation. As Willard falls into a glassy-eyed stupor, and she slowly disrobes, the woman talks about her husband, a lost soldier in France's doomed colonial adventure, and about the essential dualism of human nature. "There are two of you," she says, "one that loves and one that kills."

Variations on this theme surface from time to time over the three hours that make up "Apocalypse Now Redux," the expanded version of Mr. Coppola's 1979 film that opens today. The United States Army general who sends Willard upriver into Cambodia to find the mysterious Colonel Kurtz muses on the "conflict in every human heart between rational and irrational, good and evil."

When Willard arrives at the tribal encampment that Kurtz rules like a mad deity incarnate, he encounters a manic American photographer, played by Dennis Hopper, who instructs him in the basics of "dialectic logic": "You either love someone or you hate them."

The movie itself — shot over 16 months in the Philippines in circumstances by now as myth-shrouded as the story it tells — is similarly bifurcated, split between its immediate historical subject, the Vietnam War, and a grand, murky ambition to plumb the metaphysical heart of darkness. Whether it succeeds on either level has been a subject of debate at least since the film was unveiled at the Cannes Film Festival 22 years ago. Is "Apocalypse Now" a great Vietnam movie? Is it a worthy adaptation of "Heart of Darkness," the Joseph Conrad novella that is its putative source? Does its attempt to fuse 19th-century literature and 20th- century history hold together or fly apart at the seams?

Curiously, the passage of time has rendered these questions moot. Or to put it another way, "Apocalypse Now," in spite of its limited perspective on Vietnam, its churning, term- paperish exploration of Conrad and the near incoherence of its ending, is a great movie. It grows richer and stranger with each viewing, and the restoration of scenes left in the cutting room two decades ago has only added to its sublimity.

"Apocalypse Now Redux" arrives in this slack season to remind us of a lost era of visionary cinema, a time of creative self-confidence that frequently flirted with hubris, but also a time of risk taking and high seriousness. The artistic vision on display in "Apocalypse Now" — the divine madness that inspired Mr. Coppola to risk his health, his sanity, his fortune and the well-being of his cast, crew and family — is ultimately less impressive, and less important to the film's durable power, than the art itself.

And while the film may have been the apotheosis (and also the catastrophe) of American auteurism — the notion that a movie is above all the personal statement of its director — the achievement is not Mr. Coppola's alone. The script, which he wrote with John Milius, is a succession of vivid Dantesque vignettes that organize the absurdity, the cruelty and the hallucinatory randomness of jungle combat into a compact, episodic nightmare epic. With the exception of Michael Herr's uneven, self-consciously literary voice-over narration, the story is embedded, and embodied, in sounds and images: in Dean Tavoularis's production design, Vittorio Storaro's cinematography, Walter Murch's sound, and the voices and faces of its cast.

The current vogue for digitally enhanced, computer-generated special effects in live-action movies, and for jumpy, gestural editing, has lulled us into a pixelated, hyperactive slumber. "Apocalypse Now Redux" jolts us awake. The sequence in which Willard and his crew encounter a surfing-obsessed, Wagner-drunk air cavalry commander named Kilgore (Robert Duvall) could stand by itself as one of the best war movies ever, a rigorously choreographed spectacle of chaos and mayhem in which every line of dialogue is audible amid the gunfire and chopper blades.

To see the real helicopters swooping through actual space and exploding on the ground, to watch the villagers scrambling to avoid death from above is, in the summer of "Pearl Harbor," to feel a rush of nostalgia mixed in with terror and exhilaration. The old, cumbersome analog machinery, the handicraft of cutting and splicing what the camera has captured, impart a clarity and precision that the new technology has yet to match.
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10
DuckNationMay 25, 2014
Ask any moviebuff to list their their top movies and you’ll generally hear Apocalypse Now on it. This film is nothing but top talent stars Marlon Brando,
Martin Sheen, Robert Duvall,Harrison Ford, Laurence Fishburne. Francis Ford Coppola
Ask any moviebuff to list their their top movies and you’ll generally hear Apocalypse Now on it. This film is nothing but top talent stars Marlon Brando,
Martin Sheen, Robert Duvall,Harrison Ford, Laurence Fishburne. Francis Ford Coppola directs another masterpiece Apocalypse Now is one of the best war movies of all time.

The brutalness that Apocalypse Now portrays made me and many others love this film. Its how how war can make people go insane how being in a jungle for months to years can do to a man's psyche.

As soon as Martin Sheen (Captain Benjamin L. Willard gets on the boat this movie takes off. The epic story is just executed flawlessly. Everything flows really well and the story never loses your atention. Robert Duvall’s character Lieutenant Colonel Bill Kilgore is fantastic.

The way this movie is written is brilliant. It has maybe one of the most Quoted lines in film history with “I love the smell of napalm in the morning.” I really enjoy the way this movie portrayed true war. It wasn't candy coated for the viewers it was brutally honest and that's what sets it apart from it's genre.

Overall i give it a 10 and if anyone is yet to watch it yet id recommend watching the extended cut or should i say Apocalypse Now Redux it adds 49 minutes of extra footage that was not in the original film.
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10
SwatiDec 1, 2013
The moment we are introduced to the main character, it's clear what the war has done to his mind. He is in a haze. Part of special operations, his tasks often involve assassinating people deemed hazardous to the war effort. He is not expectedThe moment we are introduced to the main character, it's clear what the war has done to his mind. He is in a haze. Part of special operations, his tasks often involve assassinating people deemed hazardous to the war effort. He is not expected to think for himself. Actually the dossier he is given over his next target he only opens to read once he has set off for the mission, and it's instantly clear that even if he could find sympathy for his target, he must at all costs finish the mission.

The focus here is of course on the Vietnam War. A colonel has gone renegade and needs to be killed. A captain is sent to do the job. On his way he comes across various units, one of whom treats war as a picnic outing. Human nature, it would seem, would politicize almost anything. Video cameras roll as soldiers pretend to be caught in an ambush. Officers having their pictures taken for publicity stunts. This would have been disturbing in itself, this total disregard for human suffering, of the people of the land they have invaded and their own wounded and killed. But it is apparent that these men only do these things to feel normal, or whatever passes for normal during a bloody war.

As the captain travels up the river, the banks are littered with unattended dead. No one has the time and the interest to bury them. The whole pointlessness of war is shown with poignant imagery. One would think two wars that caused the deaths of tens of millions would have been enough to teach mankind the lesson of a lifetime. Still about one and a half million Vietnamese had to perish, not to count the dead of several other wars. And the lesson is still not learnt.

It becomes more disturbing as Captain Willard goes deeper and closer to the source of the conflict. Command structures have completely vanished. A mass hysteria seems to have gripped these men. They joke and laugh like maniacs and kill with complete apathy. This before Willard has even reached his destination. But nothing prepares you for what awaits him at the end of his journey. The colonel has gathered himself a cult following of native Cambodians and Vietnamese among some Americans too. That place gave me the creeps.

The film explored how the violence and cruelty of war alters the nature of men fighting it, especially wars of an imperial nature. How the soldiers become desensitized and dehumanize everyone, suspect everyone, kill with impunity. They may not be aware of this at the moment, but killing a human being, even one you will always consider somewhere between your pets and an insect, will have an effect on you. Coppola succeeds in showing this message loud and clear.

Martin Sheen tackles his character with a relaxed laid-back approach. He is in no rush to reach his destination. The journey is the real part of the story. But when he does reach the colonel, even after everything he has seen on the way, including his own slip of character, he still is surprised at the colonel's doings. Marlon Brando plays a lunatic with extreme precision.

This being a war movie, the scale of the human involvement and military machinery was captured effectively. The costumes and make up department did a wondrous job. The equatorial climate has everyone perspiring constantly. You know that they hate the weather, the country, the jungles, and most disturbingly of all, the people. Their dead count for nothing and they lie and rot.

I must admit that this movie made me very uncomfortable and unsettled at times. The way some of the characters seem to lose their minds is palpable and frightening, like losing it is itself chosen as a way to remain sane in the face of such devastation of human lives.
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10
moonman1994Jul 26, 2013
A masterfully done movie. A nearly flawless modern adaptation of Heart of Darkness. Great writing, great acting and great directing. The only notable problem is that Brando is packing on just a few too many pounds to be a perfect Kurtz.
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10
daviddelnorte23Apr 17, 2017
Y llegó la hora del apocalipsis, la película que me estaba guardando para la ocasión. Y por supuesto, no defraudó, ya desde el primer plano al ritmo de "The Doors". Magistral. La película narra el HORROR de la guerra. Aún así, no llega nuncaY llegó la hora del apocalipsis, la película que me estaba guardando para la ocasión. Y por supuesto, no defraudó, ya desde el primer plano al ritmo de "The Doors". Magistral. La película narra el HORROR de la guerra. Aún así, no llega nunca a ser la típica película bélica. Con momentos muy oscuros dentro de la misma. algunos más que el fervor de la batalla reside en algunas conversaciones. Y todo esto por no mencionar la excelente manera que se nos narra la historia a través de los ojos y con la voz en off del capitán Willard.

Un capitán Willard que está sensacionalmente interpretado por Martin Sheen como todos sus compañeros de 'viaje'. Y al final con el personaje de Brando, que mucha gente difiere en él, a mí me parece sensacional. Realmente es el protagonista de esta "historia". Tiene un momento monólogo que es de lo mejor de la película.

A partir de aquí, iré al grano. El final, ¿me parece muy extraño? Sí. Pero no por eso me parece malo, pero ni mucho menos. Es cuando Coppola decide darle de verdad en tono de oscuridad visual a la película que va en concordancia a lo que está contando durante la misma.

En conclusión, 'Apocalipsis now' se convirtió en una de mis 5 películas favoritas. El momento helicopteros. El momento espectáculo. Para mí, este film es el mejor bélico que se ha hecho nunca y una de las mejores películas de la historia del cine. Una obra maestra. Un 10 absoluto.
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4
Annoymous1Jan 11, 2013
This movie is really boring and made me sleep in 10 seconds. Its just a bunch of poor Japanese getting nuked by Americans. Really, no point of watching it.
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10
VinceRocks123Apr 27, 2015
This review contains spoilers, click expand to view. never saw the redux version but Francis Ford Coppola's Vietnam epic still haunts us with a visionary insight within the agonies and horrors of war through the eyes of a determined captain Willard (Martin Sheen) anxious to get into war, only to witness the hellish atmosphere when he is sent into lower Cambodia to terminate Colonel Kurtz (Marlon Brando) who has gone rogue.

Lots of violent war action sequences, including the infamous Ride of the Valkyries sequence and the brutal psychotic dark side of the jungle war zone and the motivations to Kurtz's insanity points out at the darkness and senseless war in one of the darkest anti war film ever made, its a film that cants be remembered without seeing the horror it presents to the viewer, that is so violent and disturbing its like a trip to hell and back
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10
PvtJacksonJun 16, 2014
Not to mention story, performance or direction, this movie is already my favorite even when i hadn't seen it because i fancy all war flicks, especially those concerning the haunting epic Vietnam War. This movie delivers a straightforward lookNot to mention story, performance or direction, this movie is already my favorite even when i hadn't seen it because i fancy all war flicks, especially those concerning the haunting epic Vietnam War. This movie delivers a straightforward look at the cause of shameful failure of the US Army in Vietnam so clearly that everyone can understand it. "I love the smell of Napalm in the morning" - the surely most memorable quote of all times outstandingly depicts despair as well as ruthlessness of virtually all American soldiers fighting the war. Expand
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8
ScreenagerApr 8, 2013
A philosophical movie about the Vietnam War/American War. A good, strong cast of characters but there are far too many and most are only on screen for 10 minutes meaning that development amongst characters is minimal if present at all andA philosophical movie about the Vietnam War/American War. A good, strong cast of characters but there are far too many and most are only on screen for 10 minutes meaning that development amongst characters is minimal if present at all and the third act is much weaker than the rest of the film and is also quite horrific. Unpleasant at times, but offers a realistic insight into a historic moment. Generally over-hyped, but overall a decent effort. Expand
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10
SantiagoMAKiiNAMay 28, 2012
The time comes for everyone. Never at the same time or under the same circumstances. But it does arrive. Loss is unavoidable. Whether it's our sanity. Our dreams. Our hopes. The very identity of who we once were. Definitely friends andThe time comes for everyone. Never at the same time or under the same circumstances. But it does arrive. Loss is unavoidable. Whether it's our sanity. Our dreams. Our hopes. The very identity of who we once were. Definitely friends and family. Those usually go or rearrange themselves into a new unexpected landscape. Loss. One way or another. Whether we admit it or choose to live in denial. Loss is there to stay.
Milius and Coppola made it clear. Their message of loss and madness stays with you in a haunting way. You just can't wash it off. "The horrors," Brando insists. The things we see. We experience. We find ourselves doing. Who are these new men we've become along the way. Where is that guy I left behind when I started? Is there ever a true way back? And if so, to where?
There is no doubt the content of the film carries a truly emotional and psychological impact. Yes. The context is war. The most extreme of violent acts. A perfect metaphor for the loss of innocence and the discovery of life's real intent. It turns out life doesn't always have your back. No matter how good you are. No matter how good a side you fight for. Sometimes life just doesn't have your back. All characters are great studies of humanity's journey. But some of the more obvious ones can't be avoided. Like those Playboy models. So glossy and hopeful in their early arrival. Fireworks was the theme. The object of everyone's dreams. Dreams finally buried in mud and despair inside that rain soaked tent. Innocent beauties confessing their sacrifices while handing over their honor as if it was a buffet. Tall price to pay for one's dreams. "They made me do all kinds of horrible things," she says. "I just want a simple boy to like me... Are you a simple boy?" And then the next guy interrupts, "I'm next madam." The things we sold along the way. And to make the irony colder let's not forget that those girls traveled to the front lines to 'help' the soldiers. They just didn't know how deep a sale this was going to be.
Remember the French? Holding on to their family land next to the river? There for generations? But they do say they came from France, brought the supplies from Brazil, and taught the locals to work with them. To save them, as they say. Was this education in exchange for slavery? I didn't see any Vietnamese workers at that lavish dinner table. Are the once ignorant locals glad to be enslaved? Whose land is it then? Perhaps the French will die in this land after all. Perhaps someone will educate them on a new form of slavery. The slavery to your land that was never yours.
The final discovery of Marlon Brando was epic. You can feel that man's energy jumping out of the screen. Each and every one of his words perfectly calculated. Telling us of the propaganda of war. The perpetuity and necessity of the lies. The machine that moves all of us. Influences us. Tricks us to participate willingly. Is this war just a backdrop for life's journey. Who do we lie to? Others? Ourselves? One day this war will end. And then what? There is always room for fresh new lies to believe.
Martin Sheen was amazingly handsome in this movie. Great shape. A man's man. I always forget Martin was once a great good looking stud. He seems to have aged fast into his more mature roles of late. Regardless, the acting was on point at all times. As if made of steel. Where do you take your acting career from that? Perhaps that's why his role seemed to mature so quickly after Apocalypse.
Marlon Brando can't truly be congratulated in words. The man's talents are pure art in motion. You simply surrender to the beast and let him take you whole. He's barely in the movie, yet there were times when I though he was going to reach out of the screen and grab me. Amazing.
The rest of the cast was rounded to perfection. Who could forget Robert Duvall? Genius! The part reads as if written expressly for him. I would have given him back the surf board. Don't wanna mess with that guy.
The film made me a bit nostalgic of older movies. We have to keep in mind this production took place before digital imagery was the soup of the day at fifty cents a pop. Those explosions are real. The groups of helicopters are real. The airplanes doing fly overs and blowing up crap, well, they are real. That's film making with balls. Coppola had the privilege of directing the real thing. No green screen in sight. It must have been an amazing experience. Although, if we put the time of production in perspective, that is, the seventies, Francis was probably doing business as it should be done. "OK. We need a dozen helicopters over there!" Awesome. What balls.
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10
jack977Dec 9, 2013
Richly dark and beautifully hallucinatory, Apocalypse Now like the greatest war movies picks no side, but rightfully informs us of the horrors of war on an primordially human level.
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6
ovi_bzJan 7, 2011
It is the best Vietnam movie. But no war movie which presents only war facts and no morality apart of the 'who won is the best' has nothing worth to see.
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9
kman5473Jul 10, 2017
This film is filled with so many visual metaphors that it will make your head spin. There is so much depth, and meticulous craft that overwhelms and intoxicates you as you watch. In some ways, this film isn't about the Vietnam War at all andThis film is filled with so many visual metaphors that it will make your head spin. There is so much depth, and meticulous craft that overwhelms and intoxicates you as you watch. In some ways, this film isn't about the Vietnam War at all and is really just about how deep in the bowls of one's one subconscious one must dig to really figure out if they're insane or not. And even then, it's left answered ambiguously strengthening your feeling of unresolve. Expand
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10
ZorglyJan 12, 2011
My personal favorite film of all time. It changed the way I view film, art, and even life. The acting is flawless, it has the most beautiful cinematography in the history of film, the messages are powerful and haunting. It stays with you theMy personal favorite film of all time. It changed the way I view film, art, and even life. The acting is flawless, it has the most beautiful cinematography in the history of film, the messages are powerful and haunting. It stays with you the rest of your life. Which is something not many films can claim. Expand
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10
WalkingDead5640Apr 4, 2014
A Phenomenal triumph! Haunting, powerful and an outstanding piece of cinema. A very dark and psychological war film, with a great, powerful and memorable performance from Marlon Brando, as well as the rest of the cast who are all terrific.A Phenomenal triumph! Haunting, powerful and an outstanding piece of cinema. A very dark and psychological war film, with a great, powerful and memorable performance from Marlon Brando, as well as the rest of the cast who are all terrific. The action, destruction and every little detail is tremendously captured on camera. Rarely in movies can the film makers make such tension between characters, using superb lighting and soundtrack. The air assault on the village never gets old, love it! Classic masterpiece! Expand
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10
George-rootsJun 25, 2013
Anyone reading this now is reading my full honest review of this legendary picture, and while the original is classic the Redux is Legend...

Obviously any film enthusiast can agree that "Apocalypse Now" is essentially a War film like no
Anyone reading this now is reading my full honest review of this legendary picture, and while the original is classic the Redux is Legend...

Obviously any film enthusiast can agree that "Apocalypse Now" is essentially a War film like no other.

A tense hullucinogenic, physically exhausting movie which can be only be described as part War, part something that doesn't really have a Genre, Apocalypse Now is something indescribable unless you see it and even then it's hard to put into words, as Roger Ebert said in a statement too true: "Longer or shorter, redux or not, Apocalypse Now is one of the central events of my life as a filmgoer".

Again one thing i love about this movie is the success it had after going against all odds in Pre-Production, for those who don't know Brando showed up way too overweight and was reportedly very hard to work with and would require a body double, Martin Sheen had a Heart Attack at the age of 36 and returned to work a month later, What would be a 16-week shooting took over 239 days of torture, Typhoon Olga destroyed many expensive sets, extras and crew all got malaria and disease, Sam Bottoms (The actor who plays Lance) was constantly on drugs while shooting, Martin Sheen's brother did half of the Voice-Over Narrative due to his Brother's Sickness, the killing of the water buffalo attracted obvious animal protection laws, the ending was re-written countless times, Coppola had to make a film out of 2300 hours of recorded footage and of course for obvious reasons Francis Ford Coppola threatened suicide countless times.

That's just a handful of problems and stuff that happened (if you're interested in learning more go watch his wife's Documentary about the movie, "Hearts of Darkness: A Filmaker's Apocalypse").

Finally beginning the movie Hellicopters fly across a burning jungle all while "The End The Doors" plays out, Captain Benjamin Willard (Martin Sheen) is Drunk, Drugged out and wasting away in a room in Saigon (Anyone anctious to know this was shot on Martin's 36th Birthday who actually WAS drunk and drugged out, he told Copolla to film what was happening and leave him to it, what happened as you saw he actually broke the mirror, bled out then reportedly attacked Francis, who's crew were so frightened they wanted to stop yet Coppola ordered to continue.)

Being called upon by Generals (most notably a cameo by Harrison Ford under the name General. Lucas "wink") he is ordered to exterminate "with extreme prejudice" General Walter Kurtz (Marlon Brando), A Green Barret who's literally gone off the deep end.

What follows is Willard's mission up the Vietnamese river on the boat narrating his views on the war and Kurtz in the Dossier given to him questioning his respect for Kurtz as well as his mission.

With his crew (among them Laurence Fishburne's first role), there all of them witness the horrors of the war and a vital lesson: Never get off the boat.

On their journey they encounter kind,yet nutcase Seargent. Kilgore (a manic performance by Robert Duvall) who utters my favourite quote "I love the smell of napalm in the morning, A Tiger, Playboy Bunnies (including real-life playmate of the Year Cynthia Wood) A Sanpan, abandoned troops, the French (In a mansion scene which should have stayed out the redux) and finally at the "Heart of Darkness" (arriving at Kurtz's location)

Arriving at the location where Kurtz is, is like jumping into a whole new movie, the natives see Kurtz as a God-like figure who constantly offer his views on life, war and everything in general one person who takes it too literally is an american photographer known only as "the photojournalist" (an expertly casted Dennis Hopper), Seeing Kurtz for the first time is probably one of the most chilling, tense, surreal moments in Motion Picture History.

The ending reflects the beginning with "The End" blaring out again as well as luckily being able to hear Kurtz's view like we did Willard's.

Not giving away the ending it is, in the sickest sense beautiful, unexplainable, and left me as physically exhausted as the soldiers (It should be noted that many people who have seen it have declared it so very accurate to how it was like experiencing Vietnam.

Martin Sheen and Marlon Brando are unforgetable characters, Sheen to me represents the every day soldier, ultimately he decides to just go with the flow and do what is neccesary to survive no matter how truly horrible it is. Brando on the other hand playing such a high ranking officer has seen more and therefore lost all hope for humanity and above all himself, making me wonder at the end will Willard be destined to follow in Kurtz's footsteps?...

Aside from that everything is just incredible, the supporting actors, the destroyed jungle, villages, vehicles "The Attack of the Valkyries" helicopter Scene is something i don't think i'll ever forget and though the Redux is in a sense too extended for it's own good, it will forever be a question to me what my opinion would be had i seen the original version first.

Final Verdict: Francis Ford Coppola Thank you, Thank you Sir for one of the greatest experiences me as a film fan and movie goer could possibly have. there's really no way to end this review due to it's magnitude, but please do see this movie as soon as, it's so incredibly hard to find on DVD in the UK and that's wierd considering it just had a sudden re-release in theatres last April.
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10
CinemassacreMar 13, 2016
“Apocalypse Now” was worth the wait. Alternately a brilliant and bizarre film, Francis Coppola’s four year ‘work in progress’ offers the definitive validation to the old saw, “war is hell.” Coppola’s vision of Hell-on-Earth hews closely to“Apocalypse Now” was worth the wait. Alternately a brilliant and bizarre film, Francis Coppola’s four year ‘work in progress’ offers the definitive validation to the old saw, “war is hell.” Coppola’s vision of Hell-on-Earth hews closely to Joseph Conrad’s novella “Heart of Darkness,” and therein lies the film’s principal commercial defect. An exhilarating action-adventure exercise for two-thirds of its 139 minutes, “Apocalypse” abruptly shifts to surrealistic symbolism for its denouement. Result will be many spectators left in the lurch, a factor that won’t help in recouping the $50,000,000 or more necessary for break-even by distrib United Artists, Coppola and the worldwide territorial distribs involved.

“Apocalypse Now” will also have trouble avoiding political pigeonholing, since it’s the first film to directly excoriate US involvement in the Indochina war. To be sure, inhumane attitudes surfaced on both sides as inevitable consequences of a misunderstood conflict, but Coppola wields a wide tabrush in painting Americans as either “conspiratorial” or “homicidal,” with no one in between.

Thus it seems ironic that the most widely heralded production of the last 10 years may find its niche co-opted by a pic dealing with a common subject, the effect of the Vietnam conflict on its participants, “The Deer Hunter” and “Apocalypse Now” are widely differing treatments in tone and viewpoint, but in the eyes of the film-going public, if you’ve seen one Vietnam war pic, you might have seen them all.

Which possible reaction would be a shame, because Coppola here reaffirms his stature as a top filmmaker. “Apocalypse Now” takes realistic cinema to a new extreme – Coppola virtually creates World War III on screen.

There are no models or miniatures, no tank work, nor process screens for the airborne sequences. The resulting footage outclasses any war pic made to date. Coppola’s wisest decision was to narrow the focus on the members of the patrol boat crew entrusted with taking Intelligence assassin Martin Sheen on a hazardous mission upriver into Cambodia. There Sheen hopes to track down and ‘terminate with extreme prejudice’ Marlon Brando, a megalomaniac officer whose methods and motives have become, in Pentagonese, ‘unsound,’ as he leads an army of Montagnard tribesmen on random genocide missions.

Interaction of Sheen and the two black (Albert Hall, Larry Fishburne) and two white (Fred Forrest and Sam Bottoms) seamen gives “Apocalypse” a narrative flow when, in fact, there’s very little narrative (Sheen has a sporadic voice-over commentary done in groggy sotto-voce that does little to explicate the action).

Robert Duvall appears mid-way as an expansive screen character, an air cavalry helicopter commander who’s a surfing nut, and has his boys riding the waves in the midst of flak attacks. These and some other-worldly, nighttime river excursions seem the principal contributions of original scenarist John Milius (who now shares screenwriting credit with Coppola), and they contain a wacky, manic energy that serves “Apocalypse” well.

It’s when the ghost of novelist Joseph Conrad enters the picture, and when Milius and Coppola in effect take a back seat to a literary homage, that “Apocalypse Now” runs aground. Despite Vittorio Storaro’s haunting imagery, Barry Malkin’s explosive editing, and Dean Tavoularis’ eerie production design, final third of the pic fails to jell.

Experience is almost a psychedelic one–unfortunately, it’s someone else’s psyche, and without a copy of crib notes for the Conrad novel, today’s mass audience may be hard put to understand just what is going on, or intended.

Marlon Brando’s intimidating but inscrutable performance as the bald-headed Colonel Kurtz (named after Conrad’s character in “Heart of Darkness”) doesn’t clarify anything.

Rest of the cast is extraordinary, with Sheen extremely effective in a laconic style, and Forrest Hall, Fishburne and Bottoms superb in their respective delineations.

“Apocalypse Now” is emblazoned with firsts: a 70mm presentation without credits, a director putting himself personally on the hook for the film’s $18 million cost overrun, and then obtaining rights to the pic in perpetuity, and a revolutionary sound system that adds immeasurably to the film’s impact.

Even if Coppola isn’t haunted by the spectre of financial fiascos like “Cleopatra,” there’s no assured future for “Apocalypse.” It’s a complex, demanding, highly intelligent piece of work, coming into a marketplace that does not always embrace those qualities.
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10
moviematthewNov 8, 2013
A visually stunning and superbly directed piece of work about the horrors of war, Francis Ford Coppola's Vietnam War epic is what I consider one of the best depictions of the war in Vietnam next to Stanley Kubrick's equally superior "FullA visually stunning and superbly directed piece of work about the horrors of war, Francis Ford Coppola's Vietnam War epic is what I consider one of the best depictions of the war in Vietnam next to Stanley Kubrick's equally superior "Full Metal Jacket". Everything about this movie is perfect: the characters, the setting, the music, and the cinematography. "Apocalypse Now" is definitely listed on my list of favorite movies of all time. Expand
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9
Joshthomas2014Apr 14, 2013
One of the greatest war movies of all-time with many of the most iconic moments and quotes in cinema. This film took so many hardships to make and Francis Ford Coppola definitely made history.
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9
jools123Aug 6, 2014
Very few of the movies I watch get nine stars, but this one top it well. This gritty war epic is packed with gritty action scenes and great dialogue. The acting is stunning and dramatic and well done. The best Martin Sheen performance hands down.
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10
UncleEarlDec 1, 2013
The french dinner sequence is my favorite scene from any movie ever. It's a shame it wasn't in the original cut, otherwise these blowhards who saw the older version wouldn't try to reject such a meaningful scene.
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10
trevortalksNov 14, 2012
The best war movie ever made.
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