Throughout the mid-2000s, the success of “Gladiator” made multiple directors want in on the supposed success of the historical epic. Oliver Stone, best known for films such as “Platoon” (1986) and “JFK” (1991), bought into the hype with “Alexander,” a bombastic yet risky biopic about Alexander the Great, following his entire life and how he aspired to conquer the known world.
The film was poorly received financially and critically, yet has undergone multiple revisions since, with the latest version, “The Ultimate Cut” (2014), emerging as the director’s definitive vision. “The Ultimate Cut” refines its narrative structure, adding about 30 minutes, character development and thematic focus and offering a sweeping, psychologically driven historical epic.
Through the lens of blind ambition and the fluidity of identity, Stone crafts an introspective portrait of Alexander the Great, not as a conventional hero, but as a man consumed by his limitless aspirations and torn by personal desires.
“Alexander” has an all-star cast. Led by a young yet highly magnetic Collin Farrell as Alexander himself, the film also features incredible supporting performances from Val Kilmer as Alexander’s father, Philip II, Angelina Jolie as Alexander’s mother, Olympias and Anthony Hopkins as Ptolemy. Rosario Dawson is also good in a breakout role as Roxane, Alexander’s wife.
One of the most profound aspects of “Alexander: The Ultimate Cut” is its exploration of Alexander’s relentless ambition, which serves as his greatest strength and ultimate downfall. Stone portrays Alexander as a man obsessed with the idea of forging a united world, a vision that repeatedly isolates him from those closest to him. The film presents Alexander as a tragic figure whose conquests — though historically unprecedented — come at the cost of personal stability, trust and, ultimately, his own men’s loyalty.
“The Ultimate Cut” frames this narrative of blind ambition through a nonlinear structure, interspersing Alexander’s youth with his conquests. This structural approach gives weight to the notion that Alexander’s triumphs were not purely acts of strategy and leadership, but rather the manifestations of his relentless search for identity, validation and immortality.
Stone’s film also engages in a nuanced and historically grounded portrayal of Alexander’s sexuality, an aspect that had been misunderstood or controversial in earlier discussions of the film. “The Ultimate Cut” takes a more unapologetic and sophisticated approach, restoring key moments that explore Alexander’s romantic and emotional connections with both men and women. The relationship between Alexander and Hephaestion (Jared Leto) is at the heart of this portrayal. Unlike earlier versions, which subtly hinted at their deep bond, “The Ultimate Cut” more openly acknowledges their connection’s intimacy and emotional depth. Stone presents their relationship with tenderness and reverence rather than reducing it to mere subtext.
Alexander’s marriage to Roxana is depicted as both political and passionate, yet fraught with tension due to her jealousy of Hephaestion. Alexander constantly attempts to bridge the gap between his personal desires and the expectations placed upon him as a ruler. The exceptional writing by Oliver Stone, Christopher Kyle and Laeta Kalogridis can be thanked for all this.
From a filmmaking lens, “Alexander” is flawless. From the cinematography by Rodrigo Prieto, best known recently for his work on “Barbie” (2023) and “Killers of the Flower Moon” (2023), to the production design and set decoration by Jan Roelfs and Jim Erickson, the costume design by Jenny Beavan and last, but certainly not least, the unbelievable music from composer Vangelis.
It may have taken him four attempts, but with “Alexander: The Ultimate Cut,” Oliver Stone finally created a historical epic that matches Alexander’s accomplishments.
Rating: 4.5/5
