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Gallery: Great movies you don't want to see again.

 

Some say the mark of a great movie is if you want to watch it again. But some films, albeit creative masterpieces, are simply too harrowing to take in more than once. With the Academy Awards on tap for Sunday, here are five Oscar-nominated films that I never want to see again.

 
 
 
 
<b><u>Platoon<br></u> 
 There&#8217;s one scene in here that means I can never watch this affecting piece of filmmaking again.<br> And if you&#8217;ve seen this movie, you know exactly which one I&#8217;m talking about: the platoon pulls a woman and a mentally retarded youth from a hiding spot in a hut in a village suspected to harbour Vietcong.<br> American soldier Chris (Charlie Sheen) starts yelling at the smiling youth and firing his rifle at his feet. &#8220;You want something to smile about? Dance, one-legger! Dance!,&#8221; he screams as the mother pleads for her child. That absolute cruelty is enough to make me shy away from the screen, but then Kevin Dillon&#8217;s character Bunny steps in and beats the poor boy&#8217;s head into a pulp with his rifle.<br> The world can be a senseless, dreadful place and this scene drives that home.<br> The film was up for eight Oscars, and took home four, including Best Picture and Best Director for Oliver Stone, who was on a tear at the time. Consider this: the writer/director released Salvador, Platoon, Wall Street, Talk Radio, Born on the Fourth of July, The Doors and JFK in a five-year period from 1986 to 1991.<br></b>
 

Platoon
There’s one scene in here that means I can never watch this affecting piece of filmmaking again.
And if you’ve seen this movie, you know exactly which one I’m talking about: the platoon pulls a woman and a mentally retarded youth from a hiding spot in a hut in a village suspected to harbour Vietcong.
American soldier Chris (Charlie Sheen) starts yelling at the smiling youth and firing his rifle at his feet. “You want something to smile about? Dance, one-legger! Dance!,” he screams as the mother pleads for her child. That absolute cruelty is enough to make me shy away from the screen, but then Kevin Dillon’s character Bunny steps in and beats the poor boy’s head into a pulp with his rifle.
The world can be a senseless, dreadful place and this scene drives that home.
The film was up for eight Oscars, and took home four, including Best Picture and Best Director for Oliver Stone, who was on a tear at the time. Consider this: the writer/director released Salvador, Platoon, Wall Street, Talk Radio, Born on the Fourth of July, The Doors and JFK in a five-year period from 1986 to 1991.

 
<b><u>Platoon<br></u> 
 There&#8217;s one scene in here that means I can never watch this affecting piece of filmmaking again.<br> And if you&#8217;ve seen this movie, you know exactly which one I&#8217;m talking about: the platoon pulls a woman and a mentally retarded youth from a hiding spot in a hut in a village suspected to harbour Vietcong.<br> American soldier Chris (Charlie Sheen) starts yelling at the smiling youth and firing his rifle at his feet. &#8220;You want something to smile about? Dance, one-legger! Dance!,&#8221; he screams as the mother pleads for her child. That absolute cruelty is enough to make me shy away from the screen, but then Kevin Dillon&#8217;s character Bunny steps in and beats the poor boy&#8217;s head into a pulp with his rifle.<br> The world can be a senseless, dreadful place and this scene drives that home.<br> The film was up for eight Oscars, and took home four, including Best Picture and Best Director for Oliver Stone, who was on a tear at the time. Consider this: the writer/director released Salvador, Platoon, Wall Street, Talk Radio, Born on the Fourth of July, The Doors and JFK in a five-year period from 1986 to 1991.<br></b>
<b><u>Requiem for a Dream<br></u> 
 It starts off bleak &#8212; an addict (Jared Leto) locks him mom (Ellen Burstyn, above) in a closet &#8212; and gets darker from there.<br> The emotionally taxing film by Darren Aronofsky is based on a novel by Hubert Selby Jr. (who also wrote Last Exit to Brooklyn, which also had its own feel good film adaptation).<br> It&#8217;s an amazing piece of cinema, filled with memorable performances and amazing technical flourishes. But don&#8217;t expect a happy ending for any of these sad sacks treading water in their mucked-up, scraping-to-get-by lives.<br> In the DVD commentary, Aronofksy says &#8220;anyone who&#8217;s lived 20 years on this planet knows that things get f&#8230;.d up, and they stay that way.&#8221; Case in point: Burstyn was rightfully nominated for Best Actress at the 2001 Oscars, but lost to Julia Roberts in Erin Brockovich. And Aronofsky wasn&#8217;t even nominated for Best Director. Such is life.<br></b>
<b><u>Leaving Las Vegas<br></u>
 Proof positive that misery loves company (and a stiff drink): this love story between an alcoholic (Nicolas Cage) and a hooker with a heart of gold (Elisabeth Shue) is enough to scare even a committed social drinker straight<br>. Downward-spiralling screenwriter Ben (Cage, who took home the Best Actor statue for his work) meets his soul mate in Sera, a working girl in Vegas.<br> While they share moments of true tenderness and vulnerability, neither one is looking to change anything about their situation. Instead, they accept each other for who and what they are, and the story reaches its inevitable conclusion. As if that weren&#8217;t sad enough, author John O&#8217;Brien killed himself two weeks after agreeing to have his autobiographical novel adapted for the screen.<br></b>
<b><u>Precious<br></u> 
 Urgh, this one is such a soul-crushing bummer, all the more depressing for its realism. Precious (Gabourey Sidibe, who received a Best Actress nomination in her first film) is 16, morbidly obese, illiterate and pregnant for the second time, the result of being raped by her father . . . again, which her horrible, horrible mother (Mo&#8217;Nique, in a Best Supporting Actress-winning performance) condones.<br> There is hope, in the form of Precious trying to improve her life, but no matter how many positive steps forward she takes, life keeps pushing her to the back of the line. By the end of the film, I was hoping for a bus to come along and put the poor girl out of her misery.<br></b>
<b><u>Life is Beautiful<br></u> 
 I&#8217;m tearing up just thinking about the lengths a Jewish father (Roberto Benigni, above right) goes to in protecting his young son (Giorgio Cantarini, centre) when they are put in a concentration camp during the Second World War: he turns it all into a game with a tank going to the winner.<br> And what five-year-old boy doesn&#8217;t want a real tank?<br> Moments of unforgettable joy in the family&#8217;s earlier life (remember the red umbrella?) are muted and drained of colour by the horror of the Nazi&#8217;s master plan.<br> The push and pull comedy and tragedy are juxtaposed to unforgettable results in the rare foreign-film hit at the box office ($57 million).<br> Life is Beautiful also scored with the critics, earning seven Academy Awards nominations. Benigni&#8217;s win for Best Foreign Film provided one of the most memorable Oscar moments in history, when he stood on the armrests of his seat before bunny hopping up the stairs to accept his statue from Sophia Loren.<br></b>
 
 
 
 
 
 

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