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Alexander
2004 176 min France, Germany, Netherlands, United Kingdom, United States of America, Italy R 16+
★5.4
War, History, Action, Adventure, Drama, Romance
Director: Oliver Stone
Trailers
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Description
Alexander, the King of Macedonia, leads his legions against the giant Persian Empire. After defeating the Persians, he leads his army across the then known world, venturing farther than any westerner had ever gone, all the way to India.
Budget:
$155M
US Gross:
$34.3M
Worldwide:
$167.3M
Starring
Colin Farrell
Actor
Anthony Hopkins
Actor
Rosario Dawson
Actor
Awards
Razzie Awards 2005
— Worst Actor
Razzie Awards 2005
— Worst Actress
Saturn Awards 2015
— Best Special Blu-ray/DVD Edition
Razzie Awards 2005
— Worst Picture
Razzie Awards 2005
— Worst Supporting Actor
Razzie Awards 2005
— Worst Director
Razzie Awards 2005
— Worst Screenplay
Key opinion
Oliver Stone's Alexander is a deeply polarizing epic that prioritizes an intimate, character-driven exploration of the Macedonian leader's psyche over traditional military spectacle. While supporters praise its lavish production design, evocative score, and brave, humanistic approach to historical figures, detractors argue the film is melodramatic, historically misguided, and fundamentally lacks the momentum expected of a war epic.
| Production | The production design, including costumes, armor, and elaborate Babylonian sets, provides a visually immersive and authentic sense of the ancient world. | |
| Score | Vangelis' score is widely considered a highlight, effectively capturing the film's emotional scope and grand atmosphere. | |
| Acting | Colin Farrell's portrayal of Alexander is highly contentious; some see it as a nuanced, human depiction of a troubled leader, while others find his performance effeminate and lacking the gravitas of a legendary conqueror. | |
| Theme | The film's focus on Alexander's personal relationships, particularly with Hephaestion and his mother Olympias, is polarized between those who find it a deep, authentic human study and those who feel it replaces strategic epic narrative with soap-opera melodrama. | |
| Direction | Opinions on the battle sequences are sharply divided, with critics citing them as artificial, small-scale, and lacking tactical realism, while defenders appreciate their integration into the broader character study. | |
| Runtime | The long, dialogue-heavy runtime is a point of friction; some find it a necessary pacing choice for an introspective biopic, while others describe it as a dull, bloated experience. |