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90 of 96 people found the following review helpful
5.0 out of 5 stars Exceptional
Oliver Stone hints at studio problems in the newly recorded introduction, citing that this version is the film he was able to finally put together with 'total creative freedom'. And it's magnificent. The first 45 minutes are breathtaking and almost an epic in themselves as we plunge headfirst into the (extended) battle of Gaugamela before slipping back into Alexander's...
Published on 10 Aug 2007 by Ian Armer

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7 of 8 people found the following review helpful
2.0 out of 5 stars The Greatest Story Never Told
The life story of Alexander of Macedonia, later Alexander the Great is one of epic proportions. If it had been invented for the sole purpose of story telling or to make a film, no one would have believed it. One man risen from the backwaters of ancient Greek society conquers not only his near neighbours, but the might and majesty of the Persian Empire and not satisfied...
Published on 21 Aug 2005 by D. J. Franklin


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3 of 15 people found the following review helpful
4.0 out of 5 stars Accents ruin the film, 14 Nov 2006
I enjoy any films about ancient history. I found it hard to take serious half the time when most of the greeks had Persian Accents. I really enjoyed the battles. Anyone who likes seeing a gory battle would love this film. I don't think it should've gone into his gay life because it spoils the film. Overall I enjoyed the film untill they reached India, the only decent bit after that was the battle.
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0 of 6 people found the following review helpful
3.0 out of 5 stars Father Ted goes to Bactria, 12 Aug 2005
By 
Gavin Wilson - See all my reviews
(REAL NAME)   
I have no objection to Alexander being portrayed as gay. I have no problem with him being portrayed as flawed, and at times, desperate.
But I do expect Alexander to be portrayed as noble. And nobility is the key quality that Colin Farrell fails to bring to this role. Towards the end of the story, he seems so overwhelmed by suspicions and insecurities, that he behaves like an alcoholic, desperate for his next drink. Unusually, there are a number of Irish accents in this movie. The idea of this male coterie trying to get through life reminded me at times of 'Father Ted'.
The film has some good points: the two major battles are done well. The first is particularly educational for those interested in battlefield tactics, with the occasional appearance of on-screen captions such as 'Macedonian Left'. The second is hard for animal lovers to watch, but of course horses did get speared and battle-elephants did get their trunks sliced off. (This sets a high standard for Vinn Diesel's future production of Ross Leckie's 'Hannibal'.)
Only two other comments: firstly, I found the going-back and coming-forward in time irritating. And secondly, I worry about a movie in which, according to the credits, Alexander's mum is the second-most important character in the story.
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2 of 14 people found the following review helpful
1.0 out of 5 stars Dire, 11 April 2006
By 
Nicholas (London, United Kingdom) - See all my reviews
I had high hopes for this film, but sadly this time it was not to be. All in all, it seemed to take too many ideas from Braveheart and other similar "historical epics" and sadly does not do justice to the legend that is Alexander.

Battle scenes were bloody, but you don't seem to be able to empathise with the combatants and the rousing speech before hand was frankly a waste of time.

Now I admit, I don't know much about Alexander, but I do vaguely recollect that one of his pinacles of acheivement was on a mountain pass (can't remember where/when though), and this was not mentioned at all.

I want to say more about the "supposed" relationship between Alexander and his mother and father, but I won't.
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2 of 15 people found the following review helpful
1.0 out of 5 stars Idiocy Revisited, 3 Jan 2010
By 
JCV "runblader" (Adventure, FL United States) - See all my reviews
You can revisit nonsense all you like and it is remains nonsense. What we have here is a revisionist take on history (from a northern European professor, of course, the Grand Masters of revisionism) telling us that Alexander was a blondie blue-eyed gay boy who conquered the known World to usher in Western Civilization. Funny, I've been to Greece and pretty much all over the Levant and the only blondie-blue eyes I ever ran in to were tourists.

The tediousness of this film is overwhelming, pure chloroform, the final solution to the insomnia question.

The Prequel: Blond-haired, blue-eyed gay aliens arrive from space to build the pyramids and submit a thesis to Oxford.
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1 of 12 people found the following review helpful
1.0 out of 5 stars Guano of the finest..., 25 April 2010
Since this travesty of a film was based on the book "Alexander the Great" by Robin Lane Fox, I shall draw parallels to the best selling Alexander trilogy of Books by Valerio Massimo Manfredi for the benchmark it should have been when Oliver Stone embarked on such an endeavour.

The success of the Manfredi's literature would have spawned a film, or series of, of impeccable quality and can only but state reference to the wrong book made when the direction and production's predilection to miscast, cannibalise and centre on what should be perceived when reading between the lines, churned the faux pas of that year with only raspberries and upright forearms as accolades never to earn it a place within the annals of filmmaking.

Manfredi's novels should have been the source of inspiration for Stone, where their full accomplishment examining the character strengths and weaknesses born of noble infancy upbrought amidst the elite of Greek philosophers, their forays as adolescents rising towards the responsibilities of adulthood forged through fealty and friendship, thus give rise to lead a formidable war machine. Conversely, the film clearly loses its objective with over graphic expositions of the depravity, promiscuity and all else of the sort that for certain is depicted as the norm of that era but that should rest very much to the perception and discernment of the viewer's imagination. Did Ridley Scott have to remind us of the obvious when he gave us Gladiator? Of course not, but rather opted for an interesting story.

By contrast, the film is nothing Manfredi's books are, although I do not presume an accurate rendition of the book upon which it is based since I cannot judge Lane Fox's work having never read any of it, where miscasting has the lasting effect of reminiscing on the giving of mediocre unconvincing performances. Such historical account cannot serve the passable and should have never been left to chance, for the ambition of impressing upon the silver screen must carry some form of assurance, otherwise other avenues of profitability should be explored where a larger audience can also be secured and where the full breadth of protracted novels be explored in finer detail. To imagine Lord of the Rings told in a singular three hour film would have put Peter Jackson's career into disrepute as much as disappoint faithful followers of Tolkien's work. Such is the scope Manfredi's novels would have given Oliver Stone had its literary consummation been employed by said director, for it would disappoint if never he gave them a read at all.

Having always been under the impression Manfredi's work lied at the heart of Stone's doing, I only now begin to understand why both productions stand diametrically apart and dare say he may have wrongly chosen his source material. Manfredi's books evince an adventure interleaving historical account with a storyline that entices and captures the reader's attention, whereas the film most probably brings out the essence of the chosen novel which should have bade its author better fortune had it been transposed into re-enactments upon a History Channel documentary.

Even though Hollywood's reputation for blunders has on many an occasion left me sullen and dismal, I have never been dealt a stronger blow.

One to pass up never to regret having done so.
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