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Come and See is one of the rare films that I can remember being emotionally drained upon its conclusion. The expression on my face as I sat there watching the credits scroll by seemed as worn and broken as that of the protagonist, Florya.

The film follows Florya as he "joins" (i.e. obtains a gun) a partisan group resisting the German advancements in the forests of his native Byelorussia during World War II. What he witnesses at the ripe age of 12 changes a once open-eyed, smiling face into a weathered, traumatized one that has experienced the unimaginable.

And of course the unimaginable were the Nazi atrocities committed during the war. Come and See does not focus on what the German Army did to the Jewish population but rather what they did to the native Soviet population. The Nazis were not only concerned with the utter destruction of the Jews but of the Bolshevik Party as well. And to Hitler that meant any man, woman, or child living under communist rule. And this "cleansing" fell into the hands of the SS who, as depicted in the movie, literally destroyed every sign of life.

Florya is able to escape death, unlike the rest of his family, but serves as a witness to the destruction and in this sense "dies" as his innocence and youth is lost. Klimov does a masterful job and depicting this slow death by concentrating on the facial expressions of Florya versus that of the Germans and both of their transformations over time. Klimov's Hitler montage at the end is especially moving and puts an interesting spin on the whole "what if" question.

This is the most historically accurate war movie I have ever seen and would highly recommend it to any war/history enthusiast. But I would also recommend it to any film watcher that realizes the goal of the medium which is to evoke emotion in the audience, and Come and See does just that.

Even before the final credits rolled, I strongly suspected this movie would end up on my Top 20; in fact, perhaps even my Top 10. A teenage boy, his hearing impaired from having just been at the site of a bombing, and a young woman clutching at him, the two of them stumbling and sludging through a slimy, smelly bog. A stork in the woods as it rains. A cluster of dolls piled up on the floor with flies buzzing all over the room. You don't need vast, elaborately choreographed battle scenes to bring home the message of the senselessness and pain of war. Reading viewers' comments on the movie, it seems that most found the second half – which admittedly contained some of the most powerful massacre scenes ever filmed – as the most "satisfying". A few other viewers seem to imply the movie doesn't really get going until the second half. For me, it was the first half that got under my skin the most, for its cinematic originality, poetry and symbolic power. War is experienced by civilians as well as by soldiers: this may seem like an obvious statement, but it's only after watching Come and See that you realise how few war movies are truly about the suffering of the ordinary man and woman, defenseless child and frail senior citizen. Also, never before had I seen the plight of raped women in war so powerfully conveyed, and all this without the movie ever being voyeuristic or graphic. In cinema, rape is often portrayed as something that looks like rough sex. It isn't always quite clear why women get so upset over it. In Come and See, rape is shown as nothing but pure, unadulterated, hate-fuelled violence with only a superficial, external resemblance to sex. Unlike other raped women on film, you cannot imagine those in Come and See ever healing from their scars.

On another subject, whoever thinks this movie contains "propaganda" is obviously prejudiced against the movie simply because it's a Soviet production, and should think things over a little more carefully. It's astonishing how you can still find little traces of the Cold War mentality surviving to this day, even in younger viewers... The fact that as detractors of Come and See claim, Stalin "was no better than Hitler" has nothing to do with anything at all, in this movie's context - Klimov's picture is NOT about nationalistic oneupmanship on who had the worst tyrant - it's about the basic suffering of ordinary humanity in war - ANY war, though this one happened to be going on in Bielorussia. There was in fact ten times more propaganda in ten minutes of Saving Private Ryan than the whole of Come and See. This is painful, sublime cinema. I've always believed there's something special about Russians when it comes to producing art, especially literature - this movie goes some way towards reinforcing that impression in me.

What most of the foreign viewers perhaps don't understand is that the factual side of the movie has always been a common knowledge among millions of Russians especially those of older generations. People like me, who were born 10-15 years after the war ended, knew it all along first hand from the stories told by parents and grandparents actually living through those times and events. My own mother at the age of seven was thrown by German soldiers into a barn that got lit, her front teeth were knocked out by the butt of a German soldier's rifle and she, along with tenth of other village kids, was saved by my grand-mother and other villagers only because some partisans had chosen to attack and deliberate the village that day. What most of Western viewers find horrifying, shocking and disturbing is nothing but the truth being accurately depicted by some later movie makers. This movie is pretty much like a documentary that could actually be shot with the help of some sort of a "time machine" in case there was one in 1985 when the movie got filmed.

One of the greatest of all war films, Klimov's stunning work stands amongst such works in which the horror and sorrow of conflict are made fresh over again for the viewer, left to stumble numb from the cinema thereafter. Produced for the 40th anniversary of Russia's triumph over the German invaders in WW2, based upon a novella by a writer who was a teenage partisan during the war, the propagandist use to which it was later put - when the GDR was still in the Eastern Bloc, citizens were forced to watch this to warn them of another rise of fascism - does not impair its effect today at all. It echoes intensity found in another masterpiece by the director. Klimov's shorter Larissa (1980) is a remorseful elegy to his late wife. Poetic and very personal, its sense of shock anticipates the heightened anguish that ultimately reverberates through Come And See. Through his images, the director stares uncomprehendingly at a world where lives are removed cruelly and without reason, if on this occasion not just one, but thousands.

At the heart of the narrative is Floyra, both viewer and victim of the appalling events making up the film's narrative, his history a horrendous coming-of-age story. It begins with him laboriously digging out a weapon to use and much changed at the end, he finally uses one. As he travels from initial innocence, through devastating experience, on to stunned hatred, in a remarkable process he ages before our eyes, both inside and out. His fresh face grows perceptibly more haggard as the film progresses, frequently staring straight back at the camera, as if challenging the viewer to keep watching; or while holding his numbed head, apparently close to mental collapse. Often shot directly at the boy or from his point of view, the formal quality of Klimov's film owes something to Tarkovsky's use of the camera in Ivan's Childhood, although the context is entirely different.

The film's title is from the Book of Revelations, referring to the summoning of witnesses to the devastation brought by the Four Horsemen of the Apocalypse. 'Come and See' is an invitation for its youthful protagonist to arm up and investigate the war, but also one for the audience to tread a similarly terrible path, witnessing with vivid immediacy the Belorussion holocaust at close hand. Here, the intensity of what is on offer justifies amplification by the use of a travelling camera, point-of-view shots, and some startlingly surreal effects pointing up unnatural events: the small animal clinging nervously to the German commander's arm for instance, soundtrack distortions, or the mock Hitler sculpted out of clay and skull.

Main character Floyra is the director's witness to events, a horrified visitor forced, like us to 'see' - even if full comprehension understandably follows more slowly. For instance during their return to the village, there is some doubt as to if Floyra is yet, or will be ever, able to fully acknowledge the nature of surrounding events. In one of the most disturbing scenes out of a film full of them, Glasha's reaction to off-screen smells and sights is profoundly blithe and unsettling. So much so, we wonder for a brief while if the youngsters really know what is going on. Its a watershed of innocence: one look back as the two leave and the reality of the situation would surely overwhelm Floyra - just as later, more explicit horrors do the viewer.

Come And See was not an easy shoot. It lasted over nine months and during the course of the action the young cast were called upon to perform some unpleasant tasks including, at one point, wading up to their necks through a freezing swamp. Kravchenko's face is unforgettable during this and other experiences, and there are claims that he was hypnotised in order to simulate the proper degree of shell shock during one of the major early sequences. The sonic distortion created on the soundtrack at this point later appeared to a lesser extent in Spielberg's Saving Private Ryan, as did elements of a much-commented scene where a cow is caught in murderous crossfire. Klimov's camera ranges through and around the atrocities, although one doubts that a steady cam was available. By the end Florya is isolated from humanity, technically as well as mentally, by a striking shot that excludes the middle foreground. Disturbingly expressionistic though these scenes are, others such as the scene where Florya and the partisan girl Rose visit the forest after the bombing, achieve an eerie lyricism that are however entirely missing from the Hollywood production. And whereas Spielberg's work concludes with a dramatic irony that's perhaps a little too neat, contrived for different audience tastes, Klimov's less accommodating epic finishes on a unique, cathartic moment - no doubt partly chosen to avoid any bathos after events just witnessed, but one which sends real blame back generations.

Hallucinatory, heartrending, traumatic and uncompromising, such a movie will not to be all tastes. It certainly does not make for relaxing viewing, although those who see it often say it remains with them for years after. This was Klimov's last film for, as he said afterwards "I lost interest in making films. Everything that was possible I felt had already been done," no doubt referring to the emotional intensity of his masterpiece, which would be hard to top. By the end of their own viewing, any audience ought to be shocked enough to pick up a rifle themselves and vengefully join the home army setting out to fight the Great Patriotic War - a necessarily stalwart response without limit of participation, symbolised by the director who tracks a camera through the dense forest before finally rejoining a column of soldiers heading to the front. If you feel, like I do, that any real war film should succeed in conveying the power and pity of it all, then Come And See is an absolute go and watch.

The best true-to-life war movie I have ever seen, and possibly the best movie I have ever seen. My eyes were opened when I saw this for the first time a few days ago. It made me realise what I miss 99% of the time when watching movies. So few affect me like this one did.

No special effects of note, no big budget, no set-pieces of note, no heroes, no redemption. I feel quite sure the director has really captured what war 'feels' like - unlike Spielberg and Coppola's depictions of war, this director lived through WW2 and the horrific siege of Stalingrad, as well as spending many months researching the massacres in Belarus, one of which he depicts in this film (this from the DVD extras, well worth watching).

The direction, cinematography, soundtrack and AMAZING acting by a first-time untrained actor in the main role are faultless, in my humble opinion.

I found this film depressing and emotionally draining, but cannot wait to watch it again.

I have a bad habit of reading too many reviews and comments about a film before I've seen it, mainly to get an idea about whether it's going to be worth a couple of hours of my time watching it. As a result, I am often slightly disappointed with much of what I see, as all the hype that I've read about a film kind of blows my expectations out of all proportion. I had a feeling this would be the case with Elem Klimov's 'Come and See', a film I'd read a lot about, particularly here on the IMDb. (Imagine my "excitement" when, having tried to see the film for nearly a year, I discovered it was to be released on DVD a week or two ago from today!) Well, I finally watched the film yesterday and... well, nothing could have prepared me for the sheer intensity and unflinching visceral horror of the atrocities that 'Come and See' invites us to... come and see. (Has anyone commented before on what a clever title that actually is...?) This is one of those films, like, say, 'Requiem For A Dream' or 'The Magdalene Sisters' (both of which, though great films, are simply not in the same league as Klimov's film), that one does not (obviously) so much enjoy as submit oneself to. By the end of such films we are left numbed and shell-shocked, wondering what we are supposed to do with the intense emotions that have been evoked within us. Yes, I felt like the ground had been pulled from beneath me; yes, what I saw in that film made my blood boil, my head hurt and my heart pound; and, yes, it showed me things I'd seen before but to a degree of intensity and detail that I had not experienced before. The point though, I guess, is that the role of cinema (and art in general) is not to offer answers or tell us what to think but to simply show us particular events and characters and allow us to come to our own decisions about what those things 'mean'. I'm rambling now, but I'll simply end by saying that 'Come and See' is, with its outstanding technical and artistic credentials aside, a film whose very title alone demands that it be seen. It is the work of a visionary, a cry of despair from the depths of hell, and an important reminder of humanity's capacity for inhumanity Go and see...

There's not much one can say about this movie, besides "Be warned, it's going to hurt you - a lot". The story is simple: Byelorussia in 1943 and it's Hell on the Earth. The Nazis are fighting a no-quarter-given-or-asked war against huge Soviet partisan units, and the population is caught in between (historically the German security forces destroyed hundred of Byelorussian villages murdering most of the population in the effort to "clear" the rear of Third Panzer Army). Those who haven't been deported or killed by the Nazis are trying to join the partisans. One of them is Florya, a young boy - and in his quest to "join the fight" he get much more he had bargained for. It's a movie about an apocalyptic world (the title is taken from the Book of Revelation, a most of the movie looks like it has been filmed on another planet), but unfortunately it was all-real. The emotional centre of the movie is a lengthy sequence involving the destruction of a village, with all the sickening (but not exploitative) details shown with cold determination. There's no catharsis (this is not Schindler's List!), no hope, no redemption - even the eventual revenge against the village's destroyers become just a sad and murderous business. "Come And See" is a difficult, violent and surprisingly poetic movie, compared to which even classics like "Saving Private Ryan" (Spielberg payed a homage to this movie on SPR's beginning) or "The Thin Red Line" seems just artificial. This is the real thing!

I have never been in a war zone, and am poorly informed about the horrors experienced by the Soviet people at the hands of the Nazis. Doubtless I have much to learn, but could not learn it from this film.

This movie, which is like a parody of a late Goya painting set in the forests and villages of Russia, was very hard to watch. The difficulty is not so much the brutality of the events depicted as the relentless overacting and completely unnatural performances of the actors. Everyone behaves as if they were psychotic in almost every scene, and the camera is often positioned right in front of their faces. Their expressions are, like their mannerisms, so over the top as to make the film difficult to take seriously. As if this weren't enough, the music -- interspersed with snippets of military songs or anthems -- continually makes the emphatic statement IN ALL CAPS that we are watching crazy people enduring unbearable conditions.

To my way of thinking, this film is trying much too hard to make its point. I felt that it could have said much more, with much less. Even the film's length, at nearly 2 1/2 hours long, goes overboard; it could have benefited from some serious editing. Bludgeoning its audience, it mistakes brute force for tragedy, falling well short of its own ambitions.

Come and See , well if you hate violence and brutality then you certainly wont want to see this. This Picture set in 1943 occupied Byelorussia is most probably the most true to life war movie ever, only Saving Private Ryan and Schindlers List can come close. What is amazing in this picture , is how the director uses a child's perspective and view in circumstances that you can only describe as evil. The director pulls no punches in how bad times actually were for peasents and partisans alike as German and collaborators show the viewer how low and depraved a fascist military machine actually is.

I dont want to go into the plot , as this film is a MUST for anyone who considers themselves a film buff. Disturbing and terrifying scenes do not in anyway spoil the flow of the film , but when viewing this film , please desist from seeing this movie in the early evening , as you wont sleep.

The acting accolades of course goes to the main characters , but I wish to give a special mention for the Russian Partisan Commander , who was just simply , superb. Everything about him was what you'd expect a Red Army Officer to be. The looks , the attitude and the steely determination is simply a credit to the actor. The best scene involving the Red Army Commander was when they had captured an Einsatgruppen Unit , and the SS soldier , who knew they were facing death was allowed to speak , after there own Commanding Officer was pleading pitifully for his own life. The SS soldier tells his captors that they are sub-human and that there peasent belief in Marxism was grounds enough that they should be eradicated. The Red Army Commander then in just a few words tells his men , that they are not just fighting for Socialism , but also the right to exist.What happens after...well you'll have to see.

Come and See is nothing short of disturbing, awesome, powerful and brutal. This is the best film I have ever seen regarding films portraying the Eastern Front 1941-1945 war. This film should be engraved in gold as the standard for any budding war film director. Only Saving Private Ryan and Schindlers List can be put in the same League table.

Elem Klimov's final film is a devastating look at the horrors of war through the eyes of a teenage boy who joins the partisans in Belarus (then the Byelorussian SSR or White Russian SSR). Much like Mike Nichols's "Catch-22" and Steven Spielberg's "Saving Private Ryan", "Idi i smotri" ("Come and See" in English) makes you feel as if the war is hitting you directly. And this movie leaves little to the imagination in showing the Nazis' brutality. Probably the most famous scene is when the Nazis burn down a house. There's music playing the entire time to ensure that the noise doesn't stop. You have rarely seen something as intense as this on screen.

Klimov's wife Larisa Shepitko directed the equally intense movie "The Ascent", about some Soviet troops who try to defend a house from the Nazis (Shepitko got killed in a car wreck a few years later). The important thing to remember is that the Soviet Union lost almost 27 million people fighting the Nazis, more than any other country (it probably would've been more if the winter hadn't held the Nazis back). There's a reason why Russians still refer to the Great Patriotic War, as opposed to simply World War II. And this is one of the many movies that emphasize it. Definitely watch it.

This is one of the most realistic war films ever made, and it's the more realistic for being shown and exposed from the point of view of a child, which enhances the impact and makes the realism with its constantly increasing chain reaction of shocks, more and more growing to unbearable self-tormenting horrors and abhorrence, the more almost unendurable, but you have to stay on and see it all thorugh to the end. It is to be noted, that he never uses his rifle until in the very end, and the only target of his ultimate fire is some images. But that final outburst opens the finale of the greatest sequence of the film.

You can't say too much about a film like this, words will never be enough, it is one of the greatest cinematographic experiences you'll ever have at the cinema, and although just one view of it all is enough for a lifetime, you will never be able to forget the details, and many sequences will recur in your mind, forcing you to consider this part of the war and its reality with no end to your shocked emotions and deeply disturbed indignation of an endless upset. It is very reminiscent of Tarkovsky, but it is better still than Tarkovsky, more realistic and more consistent in its absolute implementation. The Tarkovsky film that comes closest to this is his major masterpiece "Anton Rublev", which is equally consistent and overwhelming in its composition. But Elem Klimov and his writers go further, forcing the realism on their audience in constantly increasing crescendo in its horros, worse and more realistic than anything that Jerzy Kosinski wrote. This is a towering masterpiece of war films looming over all other war films, as it is a true story and almost more documentary than any realism could be for its unfathomable psychology in depicting a child's experience and reactions to all this.

It would be very, very hard to recommend this movie to a stranger. Picture it: "This film was very moving, it just breaks your heart what happens to these people, it's all so horrible...hey wait, where are you going? Please, come back!" It's impossible to say that I felt good, in any definition of the word, after watching Come And See. The Belarusian countryside is shot beautifully, its depiction of Nazi war crimes is terrifying, and yes, the fate that befalls its main character is heartbreakingly sad. But there's so little that is actually said, I was not certain that this film was actually meant to have a protagonist.

I'm afraid to say that I eventually gave up on this film. It blasts horror into the viewer's eyes like a shotgun held directly up to one's eye socket, and it actually ends up numbing you. I gave up caring about what happens to the protagonist, because by that point, death would actually be merciful.

To write a simple review seems to be an easy task. Let's complicate the matters a bit. If You have time and inclination, perceive my point and method of commenting this particular movie. All right, here we go. What do we have on the negative side? The following lines are taken out from the IMDb reviews.

1 "The soundtrack is boring, without any decent music at all... Indeed, this is not a realistic film in any way, shape or form... Its propaganda, devoid of any artistic merit. I give it the minimum score because of its extreme pro-Soviet bias, which makes the film offensive and indeed Soviet propaganda". (by Jose Cruz)

2 "And I love films, but really films are supposed to be entertaining. Or shocking. Or thought provoking. This is so tedious it feels like the director is calling the viewers bluff". (by robc-26 from United Kingdom)

3 "A war movie should educate the viewer in any of a number of ways. We should appreciate courage and sacrifice, we should empathise with the cold, hungry and terrified. We should be told about historical events and their impact on the final outcome". (by Reebox from United Kingdom)

4 "Lack of dialogue and explanation means that much of the time you don't know who people are or where they're going or what they hope to accomplish when they get there". (by hanfuzzy from Barrie, Ontario, Canada)

5 "The character of the boy doesn't seem developed enough and the imagery presented in some so-called "intense" scenes did not truly attract my attention nor made me empathize with the character". (by dubbs37 from United States)

6 "Bad lead character development". (by entej from Russian Federation)

7 "The film is very slow and at many times throughout, nothing much is happening... The long, ringing in your ears, muted sound is off putting and not effective". (by richard6 from United Kingdom)

8 "I wanted to see more actual fighting, and how the war was perceived by soldiers not a 12 year old boy..." (by Steve Johnson (twiglet-1))

9 "The Nazis was professional killers, OK, but they were yet civilized (if I could say so) beside of a savage hypocrite murders called russians with their red army!.. Nazis were stupid kids beside Red Holocaust and Stalin. Be serious!!!!!" (by nazratst from Romania)

10 "The infamous village massacre happens in the last fifteen to twenty minutes of the film, and the German soldiers look so ridiculously evil and cartoon-like that it's very hard for this scene to have any particular interest or emotion. To be honest, I was so bored up to this point that the barbaric events unfolding on screen before me were almost welcoming as at least something was finally happening". (by JSwallowX1 from Ireland)

So, we can sum it all up in the lines below (adding some groovy spice will also help).

Being a piece of blunt Soviet propaganda, the film is devoid of any historical accuracy and artistic merit. It's dull and tedious with an uninteresting main character (who has absolutely no background and is free from any development – either physical or mental). Who cares about some kid during the war times? Give us a HERO, not a whimpering child! This "war" flick is neither entertaining nor serious. Its fictional happenings (women and children burnt in the barns by the Nazis? come on, in reality it was vice versa! read the historical documents!) pump up to the levels of "Star Wars" with one serious difference: "Star Wars" was at least thought-provoking and shocking. There is no decent music in the movie at all and the whole soundtrack cries out to get turned off. The last straw that could break any camel's back (i.e. insult any viewer's ears) was some cheap melody at the end of the flick. The whole movie is boring to such degree that any normal human being will yawn and fall asleep during the initial 10 minutes. If you want to see a real feat for the eyes and ears, watch the documentary "Der Ewige Jude", which IS a masterpiece at all levels and on top of everything has realistic cow scenes (unlike this one). Watch any USA picture with the WWII topic – they are not many, but at least they represent the historical facts and show us WHO won the World War II and at WHAT unspeakable price... The Russians exaggerate things immensely, making the events going on on their territory look like some kind of annihilation. Nonsense. The Germans were never cruel during the WWII on the USSR territory and they always behaved in a most decent manner. It was Russian troops who were deranged killers (there is even a historically accurate photo of a Russian soldier bullying a poor German woman and robbing her of her bicycle! and it happened in the streets of Berlin when the war was over! Check out the I-net archive footage if you don't believe! just imagine WHAT was happening during the war days!). The verdict: if you are a sane civilized and thinking European, stay far away from this schmoopy fantasy.

Do You agree? What do You know about the WWII? How empty is Your vision? To which extent are Your brains brainwashed and "freed"?

Any further comment is superfluous. Actually, this movie does not need any review or comment. But our today's way of life needs it badly. And today's cinema.

Thank you for attention.

A disorienting film about the disorienting nature of war. Symbolic psychotic images fuel the film; and on screen the damage to soul, and to soil, is quite vivid. I think different film-making standards and guidelines in Russia.

If I had a bit of a problem, it was that our channel for said soul damage was a teenage boy. While I can see that choice underscoring the innocence that war crushes...or the notion of serving one's motherland, at times my connection to Aleksei Kravchenko as Florya faltered. His trembling, frazzled face...and the camera lingering on it...odd moments of petulance...but then maybe I'm not *supposed* to relate to him, as who really can? Your town invaded, your family massacred...well sadly on earth there are still many who can, but not myself. At one point, there's a shot where he's scouring a large pot, and it's as if he is being cooked alive.

Still I felt an older actor might have delivered a more nuanced performance, hell Kravchenko was less than 16 years old when he made this. I see he is still making films to this day, so maybe I need to see his body of work. Indeed as the film went on, he seemed to deal with the shock a little more internally.

Sadly, as the film went on, Glasha disappears...there was a time where I felt she was an imagined character. I know of course she was meant to be real, but something about her felt like an externalized innocence that was trying to keep Florya afloat, and alive. A sweet self-defense mechanism?

The film though is filled with tragical magical realism. The Hitler hominid that the Russians hump about. Glasha's singing and dancing in the rain, the bog crawl.

Ultimately I walked away reminded that war, any war, is such a failure of us as humans. I think this film starts with the image of the kids playing in the wake of the war, infantilely infatuated with infantry...but the lesson comes harsh and fierce.

I saw the Kino edition (via Netflix), wish I had come across the version mentioned here with more bonus features. I noticed that this was Klimov's last film for what it's worth. A pretty powerful and savage swan song. I may try his take on Rasputin next...

7/10 Thurston Hunger

Elem Klimov and Aleksei Rodionov's handheld cinematography, present the viewer with the mental and physical destruction of a boy who changes in front of your eyes beyond recognition.

Cacophoneous, industrial sounds and sometimes cryptic story-elements (for as far as there is a story) contribute to this ruthlessly escalating history lesson about Nazi's who burned down hundreds of villages in 1943 in Russia. The realism makes you wonder how many people were harmed making the film, while the score represents the mindnumbing experiences of Florya, a tour-de-force performance by Aleksei Kravchenko (16 at the time). All along, somehow Klimov knows very well how to prevent the audience from becoming numb.

ILM's specialFX are smoother, but the FX here in 'Come and see' are so realistic, it's almost unreal: reminiscent of the first 30 min of Saving private Ryan, Thin red line (watch the animals), Apocalypse Now and the painstaking 'Band of brothers'. Indeed forget about the rest of 'SPR', Platoon and even Full Metal Jacket. However, I would like to recommend Deer Hunter (Cimino, 1978) and Hotaru no haka (1988). But I never suspected there was something massive like this. 10/10