Edward Dmytryk
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The abuses are also literal, as Brendan steps into beatings, his pretty face smashed repeatedly, kicks and jabs fortified by big-fat throwdown sound effects (here he's looking like Dick Powell, pounded in Murder, My Sweet).
The first thing to be said about "A Few Good Men" is that it resembles perhaps too closely "The Caine Mutiny."
Essentially it is "The Caine Mutiny" in dry dock with Jack Nicholson and Tom Cruise going macho a macho.
Centered, like "The Caine Mutiny" before it, around a trial inside a military courtroom, "A Few Good Men" (citywide) would like you to think it's about such weighty topics as the misuse of power and a young man's struggle to find himself, but no one will be coming out of theaters whistling those tunes.
Though still clearly a play-turned-film, "A Few Good Men" has been cautiously and effectively "opened up" by Reiner and cinematographer Robert Richardson (Oliver Stone's regular cameraman), whose virtuosity is most evident within the confines of the courtroom, where delicate camera moves and impeccable editing turn this into a tinderbox trial favorably comparable to "The Caine Mutiny."
If you've seen "Breaker Morant" and "The Caine Mutiny," you can guess what happens next.
A Few Good Men is a military courtroom drama in the tradition of The Caine Mutiny, but screenwriter Aaron Sorkin and director Rob Reiner try to prove their liberal credentials by beefing up the role of the woman in the original Sorkin play until she's a feminist firebrand.
But this is not The Caine Mutiny ; they still follow orders, shouting and repeating them to exhaustion.
Combining various elements of “The Cruel Sea,” “The Caine Mutiny,” “Run Silent, Run Deep,” “Hacksaw Ridge” and “Dunkirk” (among others), “Greyhound” is a mostly fine movie that offers a great lead performance through how much is reserved and not said.
John McTiernan's adaptation of the Tom Clancy novel is a classic submarine movie (yes, it's a subgenre...yuk yuk yuk)—like seafaring predecessors The Enemy Below and The Caine Mutiny, this one's unapologetic about its undiluted testosterone (Gates McFadden of Star Trek: The Next Generation has a blink-and-you'll-miss-her cameo as Jack's Ryan's wife Caroline).
With the slop and sex reduced and the whoremongering guess-who material minimized (“Nino,” who sings with a highball in his hand, has been weeded out), the movie bears little relationship to other adaptations of books of this kind, such as “The Carpetbaggers” and “The Adventurers.”