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We knew already that Mel Gibson is a filmmaker with a powerful vision and the craftsmanship to go with it. Extraordinary battle scenes. Violence, Gibson style, which means Peckinpah plus, because here there is such a personal intention that makes every frame, utterly compelling. The only drawback and I have to say it, Vince Vaughn. Why? In the moment he appears, this extraordinary film becomes a movie. It took me completely out of it. When you look at him you see an actor, acting. On the other hand, Andrew Garfield. Sublime. He makes totally believable a character that could be fictional. The humanity in Andrew Garfield's eyes makes everything real. It tells us, in no uncertain terms, that at the very center of it all, there is love. Love!

I guess that Hacksaw Ridge could probably best be compared to the great Gary Cooper film Sergeant York which hewed pretty close to the truth about Alvin C. York, his background in Eastern Tennessee and his exploits in World War I.

Like our protagonist Desmond Doss here, York had a rural background and joined a pacifist religious sect. Unlike Doss, York grew up as a hunter and was a dead shot. He wasn't sure what he would do if a combat situation arose. But he did what he did and got every decoration imaginable including the Congressional Medal Of Honor.

Doss had a tougher row to hoe. He would not touch a weapon and the film will show you why. He felt it his patriotic duty to join, but as a combat medic, save lives rather than kill. With no weapon to defend his own person, this medic saved a lot of people at an engagement at a place dubbed Hacksaw Ridge in the Battle of Okinawa.

In Sergeant York, Walter Brennan's country preacher character says that Gary Cooper has the 'using kind of religion'. That might well be said of Andrew Garfield as Desmond Doss who got a Best Actor Oscar nomination as Doss. Cooper won one of his two Oscars for Sergeant York and Garfield really suggests his character in what he does with Doss.

The battle scenes are suggestive of Saving Private Ryan, director Mel Gibson staged them well. Hacksaw Ridge did win a pair of Oscars for its Sound. Gibson got nominated for Best Director and the film itself for Best Picture.

Hacksaw Ridge shows the horrors of war and from it the beauty of heroism when people have to summon their personal best and become more than themselves. The Doss story is one that deserves telling and retelling. Thanks to Mel Gibson it will be permanently retold.

"I have seen stalks of corn with better physiques." Sergeant Howell (Vince Vaughn)

Director Mel Gibson is an action genius and along with that compliment, let's add he knows his violence. Hacksaw Ridge is a true and heroic story of the first conscientious objector to receive the Medal of Honor for bravery in battle. Brave also could be any attempt to separate the film from its controversial director, but I'll let the film speak for itself.

The contradiction is real: Desmond T. Doss (Andrew Garfield) was a Seventh Day Adventist who not only refused to work on Saturdays, but he also refused even to touch a gun. Through the intervention at a court martial of his improbably brave and conflicted father (Hugo Weaving), Doss is allowed to serve as a medic under those conditions, proving to all that he could be braver saving men at Okinawa's Hacksaw Ridge than anyone else (75 men as a medic with a flair for ingenious rescuing).

Although Director Gibson is best known for his graphic depictions of violence in Apocalypto and The Passion of the Christ, he can also be accused, along with writers Andrew Knight and Robert Schenkkan, of clichéd story telling. The film's two parts, at home and at war, follow some pretty trite set-ups such as the mountain boy smitten by the nurse, the call to righteous service, the tough drill sergeant ( a terrific Vince Vaughn, see opening quote), and the sentimental trench dialogue.

Yet these flaws work when the story needs them to establish Doss's kind heart, courage, and the essential goodness of fellow combatants as they confess they misread him and his conscientious objection. If you can forgive the almost unreal, lush setting for his youth in Lynchburg, Virginia, and his mooning for his future wife, Dorothy (Teresa Palmer), then you will enjoy seeing a real hero in a real war.

Yes, Gibson knows how to depict action, not just pain, and it helps make Hacksaw Ridge a welcome addition to war films that tell true stories. And lest I forget, welcome back, Mel; you have been redeemed.

Not one of my favourite war films, like 1930's 'All Quiet on the Western Front', 'Paths of Glory', 'The Thin Red Line' and 'Apocalypse Now', but exceptionally well made and incredibly powerful.

It has been said about 'Hacksaw Ridge' that the second half is better than the first half, something that is agreed with by me. Not that the family/character study stuff is bad, far from it, it's beautifully filmed, even better acted and paints Doss as a very fascinating character that it's easy from the get go to identify with his wants to succeed against all catastrophic odds.

Just that the first third does take time to get going with a pedestrian pace, the dialogue is corny (in fact, to me the dialogue is the least good thing about 'Hacksaw Ridge' in general and the element that rings true the least) and the sentimentality is laid too thick (this is also particularly true in the slightly underdeveloped romance).

However this is made up for by the entertaining yet hard-hitting training scenes and in particular the truly jaw-droppingly brutal war/battle scenes that soar in nerve-shredding intensity and raw emotion, giving the first 30 minutes of 'Saving Private Ryan' a run for its money and perhaps making it tame in comparison (high praise for a film with one of the most gut-wrenching first 30 minutes on film, though to me the rest of the film isn't quite as good).

Throughout 'Hacksaw Ridge' has exceptional production values, in particular the cinematography in the battle scenes, and Gibson directs like his life was depending on it. Rupert Gregson-Williams' score has the right amount of pulsating energy and nuance, and the sound effects in the war/battle scenes have a terrifying authenticity.

For a vast majority of the time, the story is very compelling and makes the most of mature and very easy to relate with themes. It has a wide range of emotional impact, being for the second half intensely powerful, much of the film being poignant, some of it sardonically amusing (without it being out of place) and also all of it inspirational. Rather than straying from the facts for dramatic license, Gibson is surprisingly respectful this time round.

Andrew Garfield has yet to give a better performance than his astonishing turn here (though he is splendid too in Martin Scorsese's 'Silence'), and Gibson similarly brings the best out of Sam Worthington (often a charisma-free actor but here doubts were cast aside) and Vince Vaughn (at his sardonic best while also touchingly subdued, proof that he can be good if the material serves him all which too often in his career it hasn't but it does brilliantly here). Hugo Weaving is terrific, also giving some of his best work in some time. Teresa Palmer makes the most of her role.

In conclusion, a near-triumphant come-back. 8/10 Bethany Cox

I was lucky enough to sneak into a cast & crew screening at the Newtown Dendy cinema. I thought 10.30AM on a Sunday was too early for a Mel Gibson movie, that I might be in for something along the lines of the heavy-handedness of THE PASSION OF THE Christ, and the adrenaline pumped brilliance of APOCALYPTO.

I was proved wrong because after the first thirty minutes I wasn't sure if this was a Mel Gibson film when I was placed into a comfort zone, with its melodrama set in a small Virginia town during the Forties, a schmaltzy romance, and the cliché violent drunken father who survived a brutal war. The performances were maybe a little let down by the clumsy dialogue, but all directed safely with a natural sense of storytelling.

By the 2nd act, I was put on high alert in the military training with our protagonist, Desmond Doss (Andrew Garfield who I at first felt was wrongly cast, but he really came through in the end). It was here when the true purpose of the story began to evolve, that of Doss' moral and internal conflict with using a gun! What he had to endure and stand-up for was a courage I greatly admired. It was also in this phase of the film that the dialogue and characters began to shine. Maybe it was the introduction of Vince Vaughn's character. We all know how Vaughn is notorious in ad-libbing, and it seemed to help because the other actors bounced off it well.

Now the story had me in their pocket because by the 3rd act I was with our protagonist and his platoon when they got to the battlefield graveyard of Hacksaw Ridge. You thought the horrific situation in WE WERE SOLDIERS was brutal, well this was captured so vividly that you felt you were there. It was almost on par with the brilliance of GAME OF THRONES; BATTLE OF THE BASTARDS.

Now I felt I was in a Mel Gibson film. As with Braveheart, the battle scenes in Hacksaw Ridge didn't hold back. Maybe a notch better because of today's CGI (and I didn't even notice the effects!). The scenes were unflinching, haunting and in your face. Possibly showing you the true horror of war. Definitely not for the squeamish.

The religious aspect of the film was relevant to the story, so as a non-believer I thought it was an integral part of the protagonist and had to be told, so it didn't bother me as much.

Overall the technical aspect of the film was brilliant, but then again I didn't really notice it because I was too distracted by the story and the characters, and when that occurs, I know the film has succeeded.