This smart, unhurried drama plays out like a retro version of Saving Private Ryan.
The Great Raid (2005)
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Reviews Counted:116
Fresh:41
Rotten:75
Average Rating:5.3/10
Consensus: Though the climax of the film -- the actual raid -- is exciting, the rest of it is bogged down in too many subplots and runs on for too long.
Rated: R [See Full Rating] for strong war violence and brief language
Runtime: 2 hrs 13 mins
Genre: Action/Adventure
Theatrical Release:Aug 12, 2005 Wide
Box Office: $10,074,830
Synopsis: Director John Dahl switches genres from film noir (THE LAST SEDUCTION, RED ROCK WEST) to military actioner with THE GREAT RAID. Following the 1942 Bataan Death March, thousands of U.S. and Filipino... Director John Dahl switches genres from film noir (THE LAST SEDUCTION, RED ROCK WEST) to military actioner with THE GREAT RAID. Following the 1942 Bataan Death March, thousands of U.S. and Filipino soldiers were imprisoned by the Japanese in a POW camp in Cabantauan in the Philippines. Brutalized, starved, and tortured, the prisoners languished in the camp for nearly three years. But in January 1945, an American battalion, with the help of Filipino guerrillas, planned a daring mission--some called it suicide--to rescue the five hundred U.S. soldiers still alive there. The film is told in glorious detail. The story is based on two books, THE GREAT RAID: RESCUING THE DOOMED GHOSTS OF BATAAN AND CORREGIDOR by William B. Breuer and GHOST SOLDIERS: THE EPIC ACCOUNT OF WORLD WAR II'S GREATEST RESCUE MISSION by Hampton Sides. In addition, several men involved in the raid served as consultants on the project. The result is a thrilling, agonizing, and unforgettable war movie like they used to make in the 1940s and 1950s, a celebration of the human spirit. THE GREAT RAID stars Benjamin Bratt as Lt. Colonel Mucci, an offbeat military man who puts his faith in young Captain Prince (James Franco) to lead the dangerous mission. Among the men imprisoned in the camp are Joseph Fiennes as the ailing Major Gibson and Marton Csokas as Captain Redding, who is always trying to escape. Connie Nielsen adds romantic tension as a war widow smuggling much-needed medicine into the camp. [More]
Starring: Benjamin Bratt, James Franco, Robert Mammone, Max Martini
Starring: Benjamin Bratt, James Franco, Robert Mammone, Max Martini, Joseph Fiennes, Marton Csokas, Natalie Mendoza, Dale Dye
Director: John Dahl
Director: John Dahl
Screenwriter: Carlo Bernard, Doug Miro
Producer: Harvey Weinstein, Bob Weinstein, Jonathan Gordon, Lawrence Bender, Marty Katz
Composer: Trevor Rabin
Studio: Miramax Films
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Reviews for The Great Raid
The story of one of the most daring and successful raids in U.S. Army history turns out to be mystifyingly inert on screen.
The film is much better as a ticking-clock action picture than as a story of human emotions, be they romantic, altruistic or base.
Dahl gets it half-right, and completely wrong. In studio fashion, he adds a composite character and a love story, which the story really doesn't require. In indie tradition, he refuses to cast any stars -- which the picture desperately needs.
I hereby award the World War II drama The Great Raid a Cement Star for faithful and distinguished service to the cause of mediocrity.
Not a great movie, but it certainly does justice to the great historical event it dramatizes.
Obsessed with authenticity, the movie simply isn't 'Hollywood' enough. What could have been a valuable history lesson for everyone is just more fodder for military buffs.
You have to salute its devotion to heroism, but a gripping, involving movie would have been a greater tribute.
See the film for its depiction of astounding heroism and military ingenuity. Take the rest with a grain of salt.
At times the action drags, but the details of the raid itself are riveting. The rescue scenes will leave you feeling as if you were in the midst of battle.
The picture's broad outline may be fact, but everything inside gets painted in a deep shade of bogus.
Telling the audience they're watching heroes is a very different thing than stirring emotions and ratcheting up suspense.
It never gives its characters enough character to build the sentiment required.
For Dahl, war isn't poetry or surreal irony or metaphoric hell. It's a job that has to be done, and in cases like this one, it has the side product of being heroic.
When the movie finally does show what the troops went through and how the raid itself was pulled off, it's exciting, enthralling stuff. If only there was more of that. . . .
Dahl's movie probably attempts to touch too many bases, which means it suffers from a divided attention span.
The Great Raid has an old-fashioned feel -- that is, old-fashioned in a musty way.
The dialogue falls back on cliches that were hoary when MacArthur left the Philippines.
The moral ambiguity and ambivalence that are at the heart of all great war films have been stripped away in favor of facile cheerleading, almost all of which wears painfully thin.
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