| MGM/UA Entertainment Company | Release Date: August 10, 1984 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
4
Mixed:
9
Negative:
2
|
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Critic Reviews
This is what we call a movie-movie, a movie that throws nuance and self-consciousness and artiness to the wind and concentrates on the slam-bam. It's richly entertaining, it's big, it moves fast. [10 Aug 1984, p.C1]
It's pure American corn but expertly and entertainingly harvested. The casting is excellent, the performances are so good and the emotional thrust of the film so strong that it is impossible not to enjoy. [10 Aug 1984]
The film has some truly great right-wing anarchic moments, bur for the most part its politics are all too predictably – and only – militaristic, misogynist, racist, and xenophobic; for too much of its running time, it’s just a childishly simplistic masturbatory fantasy for right-wing hebephrenics that’s mostly safe enough to play the White House.
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Red Dawn may be rabidly inflammatory, but it isn't dull. Mr. Milius does know how to keep a story moving. He might well have turned this into a genuinely stirring war film, if he had not also made it so incorrigibly gung-ho. But the effectiveness of its chilling premise, from a story by Kevin Reynolds, is dissipated by wildly excessive directorial fervor at every turn.
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Milius and his co-writer, Kevin Reynolds, commit a fatal blunder by jumping into combat sequences before we've scarcely had time to take in the idyllic heartland setting, a rural Colorado town called Calumet. [10 Aug 1984, p.B4]
Red Dawn charges off to an exciting start as a war picture and then gets all confused in moralistic handwriting, finally sinking in the sunset. Swayze, Howell and the other youngsters are all good in their parts.
Paranoia can of course be an excellent dynamic for movie-makers, and within its own dream-like structure, Red Dawn is both compelling and witty (the town's drive-in becomes a 're-education camp'). But it also contains moments that are repulsive in the grand right wing tradition, all the more so since Milius, who once held the fascination of a rebel, is here voicing sentiments that the Reagan administration actually believes.
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The film is too dumb to work as patriotic exhortation and too mawkish to work as blood-and-guts exploitation. It's a long commercial in which the Marlboro Man has become the American Guerrilla, with his good buddies, good guns and a bottomless case of Coors. [03 Sep 1984, p.73]
From beginning to end, his new film is packed with shootings, brutality and violence _ like one long video war game...Rarely since "Heaven's Gate" has a major movie been so painfully bad, not only in dialogue. The battle scenes are neither dramatic nor convincing, merely brutal. [21 Aug 1984]
Another infantile right-wing fantasy from writer-director John Milius, this cinematic embodiment of the paranoid delusions of militarists, survivalists, and television evangelists is definitely a film for the Reagan era. Red Dawn is simply too
simplistic and inept to be taken seriously.
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