Apocalypse Now
Regissert av Francis Ford CoppolaAt the height of the Vietnam war, Captain Benjamin Willard is sent on a dangerous mission that, officially, "does not exist, nor will it ever exist." His goal is to locate - and eliminate - a mysterious Green Beret Colonel named Walter Kurtz, who has been leading his personal army on illegal guerrilla missions into enemy territory.
Apocalypse Now vurderinger og anmeldelser
- manuelrodriguez9523. april 2026Genuinely the most unique and trippy war movie I have ever seen totally did not expect to see what I saw definitely would recommend. truly an unforgettable first watch
- ርልዪረ23. februar 2025Francis Ford Coppola's 1979 Classic - Apocalypse Now, is a dark, ambiguous reflection on the insanity inflicted by the Vietnam War. Having been fortunate enough to have watched the final cut in cinemas, I have to say Apocalypse Now is truly an experience like none other. Its hard to pin down what makes the movie so extraordinary; whether its the impressively put together sets (particularly during the flight of the Valkyries), the breathtaking shots of silhouetted figures in the dark of the jungle, or even the phenomenal use of 'The End' by The Doors at both the beginning and the end of the film. Roughly six months after initial viewing I decided to watch 'Hearts of Darkness', a documentary on the infamous shooting of the movie shot by Coppola's wife Eleanor. It gave me some insight into the chaos that occurred during filming, and the madness that ensued. Martin Sheen, who played Captain Willard, badly wounded his hand upon accidentally breaking the mirror upon shooting the first scene. Drunk and drenched his blood, he then continued to act out the scene in a much more convincing manner that brought out the insanity and misery the of actor and character alike. This is one of the many examples of how each of the members of the cast gradually completely lost their minds, and as a result, were absolutely phenomenal. Even Marlon Brando and Dennis Hopper, who are only introduced in the final act of the film, really give it their all. The dialogue in the film (and also the monologues from Sheen), is also fantastic and really gives you a solid understanding of each of the characters. For example; Lt. Colonel Kilgore (played by Robert Duvall), is an insane, reckless warmongering leader who amongst the screams of dying Vietnamese innocents, can only think about whether or not the waves are suitable for surfing. His heartless insensitive attitude is summed up really well by the line "I love the smell of Napalm in the morning", although to my understanding Duvall came up with that line himself. Unfortunately there are a few issues I find with film. The most recent cuts of the movie have added a notable amount of new footage, most of which is great, but I find issue with the whole French family sequence. The idea was to show that despite the fact the war is going on, some people still refuse to accept it, and due to their stubborn nature, dismiss the idea of leaving the country. I understand the sentiment, and that Coppola put a lot of effort into creating these scenes (which is probably why he added it back), but the fact is that they aren't that interesting and completely break up the pacing. However I won't let that detract from the overall score, as this issue isn't present in the theatrical release. Apocalypse Now, is in my opinion nothing short of a masterpiece. Thanks to its haunting narrative, exceptional acting, impressive sets, extraordinary pacing, fantastic use of music and beautiful cinematography, it has become one of if not my favorite move of all time.
- รҡ૨אρƭเ∂2. mars 2025As someone who considers myself an amateur film aficionado it's incredibly rare and even more refreshing to get an opportunity to watch a film of this caliber for the first time at my age. Somehow this film slipped through the cracks and took almost 40 years to make it to my television screen. Like a piece of your favorite discontinued candy lost to the back of your freezer only to turn up ten years later and defrost back to a perfectly preserved piece of time, I savored every moment in watching this knowing the rarity of this unprecedented occurrence. Chock full of some of the artforms greatest contributors in their prime and at their best. These icons act out a historical film of historical relevance yet still manage to stay free of bounds to any particular format. The storyline is unpredictably satisfying with unforgettable scenery and moments. Something like Forest Gump with a bad batch of psychedelic mushrooms 🍄. One of the best films I have every watched. A True American Classic ,Bravo! 👏 9.3/10
- Dan S Turpin29. mars 2026There are films that arrive polished, assembled, behaved—and then there are films that feel dragged out of the jungle by their hair, still breathing, still dangerous. Apocalypse Now belongs to the second kind. It isn’t merely about madness; it seems to have been made in a state of it, and that’s exactly why it works. You don’t watch it so much as submit to it. Francis Ford Coppola didn’t so much direct this picture as survive it. The stories are legendary now, but they matter because you can feel them in the texture of the film. The shoot stretched on endlessly in the Philippines, typhoons wrecked sets, money bled out, and at one point the production itself seemed like it might collapse into the same void it was trying to depict. This isn’t trivia—it’s the pulse of the movie. The chaos isn’t simulated; it leaks through the frame. And then there’s Martin Sheen, who doesn’t play Captain Willard so much as erode into him. Early in the film, holed up in a Saigon hotel room, he’s sweating, drinking, coming apart—and we now know he was in the midst of a real breakdown that culminated in a heart attack during production. That knowledge doesn’t diminish the performance; it electrifies it. His face becomes a map of exhaustion and dread, a man already halfway to Kurtz before he ever meets him. It’s one of those rare performances where the actor’s fragility becomes the film’s greatest strength. When Marlon Brando finally appears, the movie seems to inhale and hold its breath. Brando arrived famously unprepared, overweight, shrouded in darkness—literally and figuratively. Coppola hides him in shadow, and what could have been a liability becomes something mythic. Kurtz doesn’t feel like a man who has gone mad; he feels like a man who has peeled back all the layers we rely on to pretend we’re sane. Brando’s halting, murmured delivery—those long, searching pauses—suggest a mind moving too quickly and too deeply to bother with ordinary speech. It’s not neat. It’s not controlled. It’s hypnotic. The film is filled with bravura sequences that might have sunk a lesser picture under their own ambition. The helicopter attack set to Wagner is obscene and exhilarating at the same time, a grotesque ballet of firepower that leaves you unsure whether to be thrilled or ashamed for feeling it. The famous line about loving the smell of napalm in the morning lands like a joke you laugh at and then wish you hadn’t. Coppola keeps pulling the rug out from under your reactions; just when you think you’re watching spectacle, he shows you the rot underneath it. What’s remarkable is how all of this—every accident, every indulgence, every near-disaster—coheres into something that feels intentional. The film’s structure mirrors Willard’s journey upriver: it becomes stranger, looser, more dreamlike as it goes on, until by the time we reach Kurtz’s compound, we’re no longer in a war movie at all but in a kind of fevered myth. Most films tighten as they move toward their climax; this one unravels, and in doing so finds a deeper, more unsettling truth. And then there’s that ending. The killing of Kurtz is staged like a ritual, crosscut with the slaughter of a water buffalo, and it has the weight of something inevitable rather than triumphant. When Kurtz whispers “the horror,” it doesn’t feel like a line—it feels like a verdict. Not just on himself, but on everything we’ve seen. What makes Apocalypse Now so extraordinary is that it never pretends to have clean answers. It’s too fascinated by the darkness for that, too honest about the seduction of power and violence. The behind-the-scenes chaos didn’t derail it; it became the film’s bloodstream. Coppola risked everything—his money, his sanity, his reputation—and the result is a movie that feels alive in a way most films don’t dare to be. You don’t leave it reassured. You leave it a little shaken, a little unsure of your footing. And that, finally, is its triumph.
- thehave122. mars 2026A war film like no other, a trip into the insanity of war, and the insanity of making this images, amazing sound, superb acting, incredible directing of madness it self.
- Colonel Ron Aronoff - U.S.A.R.20. mars 2026REDUX version. Based off Conrad's "Heart of Darkness" which describes the insanity that war puts on it fellow human beings. Surfing while in the middle of battle. The whole episode with the playmates at the USO concert. The bridge, built everyday to be blown up every night with nobody who knows who is running the show. The French rubber plantation not admitting that they've been defeated.
- carlijustice7. mars 2026A truly well done movie. It is a bit of a "down the rabbit hole" experience. Nothing about this movie has been sanitized for our viewing pleasure, but it is well worth the watch. An overall dark piece of American history that has been laid bare for all the world to see in this movie.
- Kristian Diamantis18. oktober 2025Excellent movie, marred a little bit by an underwhelming last act.
- CineMono20. november 2025I'm increasingly convinced Coppola is not a good director. The Redux cut is IMO does not enhance the story. The addition of the plantation scenes stall the narrative, and while perhaps offering a interesting aside to the colonialism of Vietnam by the French it's placement in the timeline is awkward. It's a stumble right before the crescendo that's been building for 2 hours.
- Reuben19. desember 2025One of the greats, I like 2019's 'The Final Cut' version best. I think this version better shows "the horror" of war and you can feel much better the idea that things are getting darker as they travel further down the river.
- NotoriousEdge10. november 2025Francis Ford Coppola guides the viewer through his hellish version of Vietnam in a fantastic and captivating master piece.
- Alex Swinge6. mai 2025Greatest movie of all time. Ever. Of all time.
- Lorenzo Verde28. april 2025The horror of a man descending into the heart of madness, in order for him to kill someone who's already arrived there is sad and depressing, but shot beautifully.
- gatsby80820. april 2025An instant classic which gets better with time!
- ronniecripe2. mars 2026Martin Sheen is a great person and actor.This movie was so stressful that it gave him a heart attack.He was saved and baptized in the Philippines.I wish he wasn't a democrat but the movie is realistic and great.Many River Rats lost their lives in Vietnam.Not all Navy jobs are safe . I met Martin Sheen at a Navy base years ago.
Apocalypse Now-trivia
Apocalypse Now ble utgitt 15. august 1979.
Apocalypse Now ble regissert av Francis Ford Coppola.
Apocalypse Now har en spilletid på 3t, 15m.
Apocalypse Now ble produsert av Francis Ford Coppola.
At the height of the Vietnam war, Captain Benjamin Willard is sent on a dangerous mission that, officially, "does not exist, nor will it ever exist." His goal is to locate - and eliminate - a mysterious Green Beret Colonel named Walter Kurtz, who has been leading his personal army on illegal guerrilla missions into enemy territory.
Hovedpersonene i Apocalypse Now er Captain Benjamin Willard (Martin Sheen), Colonel Walter Kurtz (Marlon Brando), Jay 'Chef' Hicks (Frederic Forrest).
Apocalypse Now har aldersgrensen R.
Apocalypse Now er en Drama, War, Mystery.
Apocalypse Now har en publikumsvurdering på 9.1 av 10.
Apocalypse Now hadde et budsjett på USD 31,5 mill..
Apocalypse Now har tjent USD 150 mill. på kino.