Tell you what: To relieve the tension a bit (there’s a lot of angry back-and-forth in the last few days, and poor Mary keeps reposting her deleted posts, and is increasingly COMMUNICATING IN SHOUT MODE), let’s take a frivolous digression.

bud attaches great importance to Joe Lieberman having been seen cheering and pumping his fist when the Americans strike a blow against the Serbs in "Behind Enemy Lines." He sees this as reflective of a deep character defect.

Rather than our getting into a really angry back-and-forth about whether one should cheer for Americans or not (I come down on the "yes" side of that), I’m looking for common ground. bud says I don’t see flaws in my heroes. I say that cheering at any part of a movie as bad as "Behind Enemy Lines" is at least indicative of lousy cinematic taste.

Unlike the characters in Nick Hornby’s High Fidelity; I don’t consider tastes unlike my own to reflect a deep character defect.
But I do unconsciously give extra points to people who appreciate the "good" stuff — "good" as define by my own proclivities.

So let’s make like Rob, Dick and Barry and construct a Top Five Worst War Movies (post-Vietnam era only, just to limit the field):

1. "Behind Enemy Lines" — This was done so very much better in "BAT*21," so you know we can’t blame Gene Hackman, since he was in both of them. I was about to blame John Woo, but he didn’t direct this one. It just looks cheesy enough to be one of his.
2. "The Thin Red Line" — Such a horrible disappointment, by comparison with James Jones’ novel, that I wrote a whole column
   about it.
3. "The Great Raid" — Another disappointment from a perfectly good book. Hollywood tried to turn a remarkable, true story about rescuing hundreds of Allied POWs from the murderous abuses of the Japanese into a sappy romance. Why, I don’t know, but it failed on all levels.
4. "Pearl Harbor" — More sappy romance, but that wasn’t the worst thing (you want romance done right, see "From Here to Eternity"). The worst thing was the use of special effects for special effects’ sake. In fact, it seemed the entire excuse for the film. Worst moment: When two fighter aircraft, locked in a dog fight, fly between two one-story buildings, turning onto their wingtips to negotiate the narrow alleyway.
5. "Enemy at the Gates" — This one almost didn’t make the list, but it did for a reason it has in common with Nos. 2, 3 and 4: Sheer disappointment. Finally, I thought, Hollywood was going to pay proper, respectful acknowledgement to the horrors of the Great Patriotic War. Up until then, you’d have thought the Americans and British won the war by themselves; talk about ethnocentric. But the titanic, genocidal struggle between Teutons and Slavs that was the Siege of Stalingrad was reduced to the level of a personal feud between Ed Harris and Jude Law (Jude Law! As the emblematic New Soviet Man!) Really, really disappointing.

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