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Year One
Stars indicate the most critically-acclaimed movies.
Full Metal Jacket

Generally favorable reviews
Based on 18 critic reviews
How did we calculate this?
Based on 40 votes
Read user comments
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Movie Info
Genre(s): War
Written by:
Gustav Hasford (also novel The Short Timers)
Michael Herr
Stanley Kubrick
Directed by: Stanley Kubrick
Release Date:
Theatrical: June 26, 1987
DVD: June 29, 1999
Running Time: 116 minutes, Color
Origin: USA
Summary
RATING: R
Starring Matthew Modine, R. Lee Ermey, Vincent D'Onofrio, Adam Baldwin, Dorian Harewood, Arliss Howard, Kevyn Major Howard, and Ed O'Ross
The story of an 18-year-old marine recruit named Private Joker - from his carnage-and-machismo boot camp to his climactic involvement in the heavy fighting in Hue during the 1968 Tet Offensive. [Warner Bros.]
Also On Metacritic
FILM: 2001: A Space Odyssey A Clockwork Orange Dr. Strangelove Eyes Wide Shut The Shining
Also On The Web: Internet Movie Database Official Studio Site
What The Critics Said
All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...
Chicago Reader Jonathan Rosenbaum
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.
Read Full Review >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]
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.
Read Full Review >Christian Science Monitor David Sterritt
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]
The Globe and Mail (Toronto) Jay Scott
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.
Read Full Review >Washington Post Desson Thomson
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.
Read Full Review >USA Today Mike Clark
A contender for the year's best film.
Time Richard Corliss
A technical knockout. [29 June 1987]
Washington Post Rita Kempley
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.
Read Full Review >Los Angeles Times Sheila Benson
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]
Variety Staff (Not Credited)
An intense, schematic, superbly made Vietnam War drama.
Read Full Review >Chicago Tribune Dave Kehr
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]
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.
Read Full Review >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]
Chicago Sun-Times Roger Ebert
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.
Read Full Review >The New Yorker Pauline Kael
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]
The New Republic Stanley Kauffmann
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]
Wall Street Journal Julie Salamon
By most standards of conventional film narrative, this movie is a mess. [25 June, 1987, p.22(E)]
What Our Users Said
The average user rating for this movie is 9.2 (out of 10) based on 40 User Votes
Note: User votes are NOT included in the Metascore calculation.
Daniel R. gave it an8:
The first half is some of cinema's most greatest, most funny and most shocking pieces of work yet. Kubrick uses unsettling humour here to test our limits and although a lot of us don't want to laugh at the thought of soldiers-in-training being abused and being referred to as maggots we simply cannot help ourselves as R. Lee Ermey seems to make it look acceptable with his outstanding performance. After the shock at the end of bootcamp, the film progresses straight to the Vietnam war with those soldiers now in the thick of the action; although the result of this is rather disappointing. The cast here is faultless but the action and the imagination that we have to come to love of Kubrick is not here in full stretch and although there are still moments of greatness it doesn't come close to the first half. The ending of this film makes up for the rest of the half however and really is thought provoking stuff. This could've been Kubrick's best but unfortunately cannot add up to the greatness of the director's previous works such as A Clockwork Orange or 2001. Still worth a watch however and is still one of the best films in the war movie genre if not the best.
Josh C gave it a10:
Stanley Kubrick's daunting two-part monolith also communicates on a gut level, yet it is the most deceptively simple work he has ever made--and even more resistant to easy interpretation than his 2001: A Space Odyssey. A friend of mine who was a Marine sergeant in the Tet offensive assures me that so many details are botched that the film is worthless as history; insofar as coscreenwriter Michael Herr has recently pointed out that Kubrick set out to make a certain kind of war film before he settled on either Vietnam or Gustav Hasford's novel The Short-Timers, I see no reason to doubt this testimony. But conventional realism seems so far from Kubrick's purposes that I can't dismiss the film for these infidelities either. I'm more inclined to ponder lead actor Matthew Modine's provocative suggestion that Kubrick's relationship to other commercial directors is analogous to the position of the early Cubists. Combining this sense of poetic abstraction with a subject as "hot" as Vietnam (or colonialism in general) is a risky and daring move, but I can't side with those who fault Kubrick for "coldness" simply because they can't anticipate or see through him (as they can with a genuine iceberg like Brian De Palma). It's been at least a quarter of a century since I've seen Kubrick's awkward first feature Fear and Desire (1953)--long since suppressed by Kubrick himself--but it is that touching and compassionate amateur film about young men at war, set in no particular place or time, that Full Metal Jacket evoked for me, refined, perfected, and chiseled to such a fine point that it fully expresses what the earlier film only implied. The vision may be hard as nails, but it is one without villains or other easy bromides.
Michael D gave it a10:
For all of those that ridicule this movies' second half. Watch it again ... and then again. When I first saw this in the theater I was totally put off by the cinematography of the second half of the film. After repeated watching I think it is actually masterfully constructed. Empty. The only part of the film that still fails, in my opinion, is the section dealing with the news interviews of the soldiers. Meant to revolt us ... they simply come across as dry and excessive. So far removed from the Jungles of platoon this movies depiction of the shells of destroyed Vietnamese cities is amazing. ... Oh yeah ... and if since I have not stated it earlier I will say this ... the first half of this movie is nothing short of ingenious. Utterly amazing. There are images in that part of the movie that will never leave you ... and thats coming from a guy that saw this movie TWENTY years ago.
Samtam90 gave it a9:
The first half of the movie is Kubrick's masterwork, not even the sheer brilliance of Shining and A Clockwork Orange can come close to it. The second half, unfortunately, can't even remotely compete, as i find it too slow and some of the scenes are too much detached from the main plot. So, i give a full 10 for the first part and an 8 for the second (i'd like to remember the GREAT ending).
John R. gave it a9:
Awesome movie, with a terrific opening sections at boot camp. That keeps the viewers in no matter what happens the rest of the movie. The war might have seemed a little slow at times, but it portrayed the brutality very well. Great war film, definitely recommended to watch if you have not seen it.
Jake V. B. gave it a10:
I just finished reading a book on Kubrick. The chapter on FMJ was interesting in pointing out certain scenes where I missed some or most of Kubrick's point. In the prostittue/theater scene, I realized that only in the widescreen version of the film could you see certain background visuals. At present FMJ is available in letterboxed format from Warner Bros. only in HD DVD, which is where the DVD technology is headed. They (Congress is included in "they.") want us to start all over again in both the player and disc. It's really unfair. The picture is much better, but, using FMJ as an example, I've bought it in VHS, then DVD, then again in 5.1 SS DVD, and would buy it again in letterboxed format, but switching to a new DVD format is asking too much. Apparently, we're missing a good bit in this modified version of the film. I've emailed WB's site, pleading for a widescreen release in the present DVD format and maybe they would if enough people showed an interest. This excellent, very intelligent and challenging film deserves release in its proper format without having to buy a $1,000.00 DVD player. Among comtemporary filmmakers, Kubrick was without peers and I would rank him above Welles, though I'm sure this comment will cause many film buffs to go ape.
Casey S. gave it a9:
Full Metal Jacket can not be compared to any movie of its era. Kubrick's portrayel of the two parts of war; preparation and battle are personified well. Of equal importance is the music choice chosen for the soundtrack, namely the Mickey Mouse song as the movie closes.
