War movies that give you all the feels

1. War movies that give you all the feels For this list, we compiled films that span historical and fictional fields, from World War to Vietnam to Iraq, to the imagined interstellar conflict. (Although we don't count Star Wars - sorry, nerds.) If you have seen the battle yourself, many of these movies will resonate in your heart. The Hurt Locker Between this war movie and director Catherine Bigelow's follow-up work, Thirty Years of Zero Darkness, we conducted two of the best modern studies on what it means to fight in today's confusing war on terror. The Hurt Locker has the most advantage. It deeply discusses the process of Iraq's bomb dismantlement and the personal detachment caused by putting oneself in danger every hour.

2. The Steel Helmet It takes great courage to make a war movie (not just a propaganda film) while the real war is still going on. Fortunately for the audience of this Korean war drama - about a group of soldiers who dodge bickering in a Buddhist temple - its screenwriter and director is Samuel Fuller, who himself is a combat veteran. Hollywood must look like a piece of cake after being shot. Dunkirk You may already know the result of the evacuation of Dunkirk, France, in May 1940, but the power of Christopher Nolan's painful dramatic re creation is that it tried and achieved real success, rather than making it feel like another war movie. Instead, there is a sense of uneasiness. A strange event is unfolding in an unknown way, and those on the ground may have experienced it. Dunkirk is awe inspiring and alienating, as it should be. Apocalypse Now

3. The battle behind Francis Ford Coppola's surreal war movie is well documented: nightmarish years of filming; Star Martin Xin's heart attack and recovery; A group of giggling journalists sharpened knives for an epic turkey. Coppola will laugh to the end. Most of the words in the modern war picture come from this film, which is an opera like Vietnamese tragedy with the background of roaring helicopter blades, Wagner style explosions, purple smoke and Joseph Conrad's colonial fantasy Heart of Darkness. Fans of the Godfather director, who was so important in the 1970s, know that this is his last fully realized work; The connoisseurs of war films (rightly) regarded it as his second all-out masterpiece. Grand Illusion The great war movie humanist Jean Renoir wrote and directed this wonderful story of World War I, which tells the story of two French pilots captured by a German captain (Erich von Stroheim, who perfectly plays a polite tyrant) and shuttled between

4. prisons. The two planned a big escape, but this is not a simple story of heroes and villains. Class conflict is common: one of our heroes is a noble, and it is easy to become friends with his warden. At the same time, the other person is a rude person - an attractive growler against the system. However, Renoir did not put one character above the other. In fact, the film sympathizes with all points of view, even though it wisely doubts how these aggressive situations arose. Because of its sharp generosity, this film has won numerous awards, and aroused the anger of Joseph Goebbels, who declared it as the "No. 1 Public Enemy of Film". Army of Shadows In 2006, Jean Pierre Melville's cold blue portrait of the French resistance soldier was rediscovered with a great deal of fanfare, usually reserved for the purpose of discovering lost classics, providing a beautiful case for the honor of wanted criminals. The behind the scenes beating and car shooting

5. triggered a conversational war movie about the sacrifice of spies. Melville's reputation used to depend on cold, remote gangster photos, such as Samorai (1967), but it was a revelation to see his canvas expand to national politics. What was the reason why this war movie was initially ignored? The fashionable French critics thought it was too pro Gaulle. What happened? Starship Troopers Stop snickering: There's a reason why this sci-fi action movie is so high on our list. No rich Hollywood organization has ever (and may never again) been so chosen to make subversive comments on its fascist impulses. The director Paul Verhoeven arrived at the box office with a giggle all the way, because the giant bugs were killed by the gorgeous short idiots; When Neil Patrick Harris appeared at the end of the film wearing a Nazi trench coat, the joke was almost exposed. Robert Heinlein, the source novelist, sincerely expressed his militarism stories; At the same time, the happy

6. destruction of human beings shown here can only be regarded as a sharp criticism, including both military and public taste. Return to it with fresh eyes. Fires on the Plain This unabashed portrayal of the collapse of the Japanese imperial army in 1945 initially got the green light of the great Daiei Film in its studio, because it misunderstood that it would be an action film. And, to be fair, if you observe carefully, there is at least one actual combat scene. But on the whole, the director Shikawa faithfully brought the veteran Shohei Ō Oka's novels portray a broken soldier suffering from tuberculosis who is tired of trekking in the hellish landscape. Critics at that time believed that this was a vision too dim to digest, but it had evolved into an anti war classic, full of bright humanity and dull wit. Charlie Chaplin's lens, a pair of disintegrated military boots worn from one foot to the other, is a metaphor for the retrogressive effect of war,

7. just like any picture on the screen. MASH Robert Altman's classic comedies are sugarcoated in association: with TV programs, with the nauseating laughter, and with Alan Alda. But to consider the real subversion of this war movie, you just need to compare it with another elephant war drama that was staged in the town in the same week of 1970: Barton tells about a misunderstood genius of slaughter, and the pessimistic defense of bastards - charging. MASH does not have any combat scenarios. It did end with a climax, a funny football match. Surprisingly, both films come from the same studio, 20th Century Fox. However, by abandoning the traditional script of Ring Lardner Jr. and inspiring his overall performance, Altman designed a new on-site process that will forever change the American satire. This was the first real movie in the 1970s.