What Steven Spielberg has accomplished in Saving Private Ryan is to make violence terrible again. Nothing in the movie's melodramatic narrative can diminish the shocking immediacy of its combat scenes.
Spielberg goes a long, long way toward overcoming his tendencies toward the shallow, but the visceral punch of his not-quite-masterful film is softened by an almost neurotic slickness that keeps getting in the way of the [issues it raises].
Spielberg obviously decided that blood and guts meant just that, and so he arranged his violence into a semblance of pure disorder. The illusion holds, complete with severed limbs and wellsprings of blood, and it feels honorable.
Using the overpowering techniques of modern film, Steven Spielberg has cut through the glory-tinged gauze that shrouds World War II to reveal its brutal reality, creating a phenomenology of violence unsurpassed in the history of cinema.