Flags of Our Fathers (2006) is the one of two films by Clint Eastwood set on the Pacific island of Iwo Jima during the epic battles that took place on that island during WWII. The other film, Letters from Iwo Jima, earned Oscar nods for best picture, directing and screenplay, and won an Oscar for best sound. Letters from Iwo Jima depicts the hardship and struggle from a Japanese point of view and largely focuses on the events that took place during the battle. Flags of Our Fathers on the other hand, tells the tale from the U.S. perspective and focuses on the famous photo of U.S. Marines triumphantly raising the flag on Mt. Siribachi.

The focus of Flags of Our Fathers differs significantly from Letters from Iwo Jima. In Flags of Our Fathers we learn of the back story behind the famous photo mentioned above. We learn how the U.S. Government used the photo and the individuals featured for PR and war bond promotional purposes – maybe akin to how the death of former NFL player Pat Tilman was inacurately portrayed in a sleezy bid to drum up support for the so called War on Terror.

One area I believe the film excells is in its depiction of Native American marine, Ira Hayes, who suffering from survivors guilt, alcoholism, and PTSD, has a tremendously difficult time in adapting to the newfound stardom forced upon him during the whirlwind tour across the U.S. to promote war bonds. In particular, I like how Eastwood focused on his fate a little more than the other central characters and demonstrated that war has consequences beyond the battlefield, even for those pinned as heros. It was tragic really.

On its own, Flags of Our Fathers is really a marginal war film. Despite the unique peek into the backstory behind the famous raising of Old Glory atop Mt. Siribachi, the film lacked conviction and believability in the actors. Compared to other relatively recent WWII films and series such as Saving Private Ryan, the HBO series Band of Brothers, and its award winning cousin Letters from Iwo Jima, I believe this film finishes a distant fourth.

Set in 1920′s China – this film depicts the life of an educated young woman sold as a concubine to a wealthy master. She represents modernity that is being constrained by an eons old patriarchal cultural system. Unable to leave the confines of this system, we see the inner relationships with the three other wives that inhabit their prison-like compound.

The costuming, set design and cinematography all are outstanding – especially the contrast between the linear gray architecture and the warmth and color presented by the all important red lanterns. I recommend adding this one to your Netflix queue the next time you’re on the site.

A top ten on many car chase lists, this film didn’t disappoint. We meet our hero as he arrives in Denver after a long car-transport gig. His next job is to take a brilliant piece of American muscle, a 1970 Dodge Challenger, across the West to San Fransisco in an unrealistic time frame. Word of his adventure somehow makes it to a scat-talking (in the jazz sense) DJ played by Clevon Little. Best part of this film is the car however – rumbling, squeeling, oversteering its way across the desolate expanse of the American West.

This film tells the tale of the mysterious disappearance of some schoolgirls at an Australian geographical landmark during the early 1900′s. The story gripped the Aussies because of the seeming inexplicably of the whole incident. The accompanying score is written and performed by none other than the legendary Zamphir – master of the pan flute.

Sam Peckinpah wrote and directed this gritty manhunt film based in the border towns of northern Mexico. What the movie lacks in plot and tawdry dialogue, it makes up for as a glimpse into 1970′s cheauvanism, leisure suits and male hyper bravado.