It’s his unwillingness to adhere to Hollywood conventions. So, what’s all the fuss? Why does the phrase “An Oliver Stone Film” make people tense up and prepare to dismiss Stone’s latest as the work of an irresponsible attention-seeker? It’s not just Stone’s provocateur identity that rankles. (Is it really a surprise that Stone’s latest movie is about the defining moment of the 21st century?) Whether it’s the dark side of the counterculture ( The Doors), the moment America entered the media age of paranoia and punditry ( JFK), the ambition-and folly-that comes with being the leader of the most powerful country in the world ( Nixon), or the corporatization of America ( Wall Street, Any Given Sunday), Stone has used film to chronicle the dreams, fears, and disillusionments that marked the last half of the 20th century as the most creative-and destructive-in U.S. Like Jean-Luc Godard, Stone embraces myth then cuts it up to reveal a truth at its heart. (Subtle isn’t one of them.) He has spent his filmmaking career charting the currents that propelled America in the post-war era: war, greed, sensationalism, sex, drugs, and rock & roll. These are just some of the labels used over the years to describe Oliver Stone.
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