| 100 |
Chicago Reader
Elliptical, full of subtle inner rhymes...and profoundly moving, this is the most tightly crafted Kubrick film since "Dr. Strangelove," as well as the most horrific; the first section alone accomplishes most of what "The Shining" failed to do.
|
| 100 |
Newsweek
Jack Kroll
As brutally unsparing as "Platoon" was, it was ultimately warm and embracing. Kubrick's film is about as embracing as a full-metal-jacketed bullet in the gut. [29 June 1987]
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| 100 |
The New York Times
Vincent Canby
Kubrick's harrowing, beautiful and characteristically eccentric new film about Vietnam, is going to puzzle, anger and (I hope) fascinate audiences as much as any film he has made to date... A film of immense and very rare imagination.
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| 100 |
Christian Science Monitor
What makes the film stunning is less its metaphorical scheme than its cinematic style. Always a matter of flowing camera movement, Kubrick has photographed much of the action with long "traveling shots" that capture time and space as a seamless whole, not fractured into the bits and pieces of standard editing techniques. [26 June 1987]
|
| 100 |
The Globe and Mail (Toronto)
May be the best war movie ever made...Different is Kubrick's artistry and control, and his almost perverse, but philosophically progressive, refusal to impart to chaos a coherent narrative contour.
|
| 100 |
Washington Post
The most eloquent and exacting vision of the war to date... Inspired with technique rather than overblown with it, Kubrick, the filmmaker's filmmaker, lays one on you.
|
| 100 |
USA Today
A contender for the year's best film.
|
| 100 |
Time
A technical knockout. [29 June 1987]
|
| 90 |
Washington Post
We've seen it all before, most recently in "Gardens of Stone," most romantically in "An Officer and a Gentleman," but never more elegantly than here as Kubrick sustains the athletic ballet of obstacle courses and white-glove inspections for a breathtaking 40 minutes.
|
| 90 |
Los Angeles Times
In a superb cast of mostly unknowns -- with the exception of Matthew Modine and Dorain Harewood -- D'Onofrio, who put on 60 pounds for this pivotal role, and Ermey are exceptional. [26 June 1987]
|
| 90 |
Variety
Staff (Not Credited)
An intense, schematic, superbly made Vietnam War drama.
|
| 88 |
Chicago Tribune
The film has undeniable power, but it's an unusual and unsettling power, a product of a collision between red-hot material and the cool serenity with which Kubrick observes and accepts it. [26 June 1987]
|
| 80 |
TV Guide
Staff (Not Credited)
A perversely fascinating movie--one that answers no questions, offers no hope and has little meaning. In a way this is perfect for what the film has to say about war, but you find yourself numbed and apathetic as the film progresses.
|
| 75 |
San Francisco Chronicle
Judy Stone
The concluding image of men silhouetted against the dying flares of explosives, as they march to the raucous refrain of the Mickey Mouse Club theme, is masterly, but leaves a viewer curiously discomfited. Whereas "Platoon" shattered civilian complacency about that war, Full Metal Jacket is merely numbing. [26 June 1987]
|
| 63 |
Chicago Sun-Times
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.
|
| 30 |
The New Yorker
What happened to the Kubrick who used to slip in sly, subtle jokes and little editing tricks? This may be his worst movie. He probably believes he's numbing us by the power of his vision, but he's actually numbing us by its emptiness. [13 July 1987, p.75]
|
| 30 |
The New Republic
After years of preparation in the hands of a man celebrated for his penetration and style, the picture adds almost nothing to our knowledge of its subject and adds it in a manner almost devoid of visual distinction. [27 July 1987]
|
| 30 |
Wall Street Journal
By most standards of conventional film narrative, this movie is a mess. [25 June, 1987, p.22(E)]
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