Funny Games, Michael Haneke’s first English-language film -- and a compulsively faithful replica of his notorious 1997 German-language feature of the same title -- subjects its viewers to a long spectacle of wanton and gratuitous brutality.
Funny Games (2008)
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Reviews Counted:139
Fresh:71
Rotten:68
Average Rating:5.6/10
Consensus: Though made with great skill, Funny Games is nevertheless a sadistic exercise in chastising the audience.
Rated: R [See Full Rating] for terror, violence and some language.
Runtime: 1 hr 52 mins
Genre: Horror/Suspense
Theatrical Release:Mar 14, 2008 Limited
Box Office: $1,045,279
Synopsis: In 1997, writer-director Michael Haneke (CACHE) made the controversial Austrian thriller, FUNNY GAMES, about two young men who terrorize a family on vacation. A decade later, Haneke was convinced... In 1997, writer-director Michael Haneke (CACHE) made the controversial Austrian thriller, FUNNY GAMES, about two young men who terrorize a family on vacation. A decade later, Haneke was convinced by producer Chris Coen to bring the story to America, filming a nearly word-for-word, shot-for-shot English-language version, even re-creating the locations and sets as obsessively as possible. Shortly after Ann (Naomi Watts), George (Tim Roth), and Georgie (Devon Gearhart) arrive in their country home, Peter (Brady Corbet), an eerily polite young man dressed all in white, including odd white gloves, appears on the doorstep, asking Ann if he can borrow some eggs for their neighbor. Peter is joined by Paul (Michael Pitt), and the Leopold-and-Loeb-like duo are soon doing horrible things to Ann, George, and Georgie, torturing them both physically and psychologically (nearly all the violence occurs off-screen), for no apparent reason other than they can, referring to the whole thing as a game. And the biggest game of all is whether the family will be alive at the end. FUNNY GAMES is an intense experience, driven by Haneke's careful manipulation of both the film itself and the audience. He's trying to shake up the viewer, even having Paul address the audience directly several times, with Paul fully aware of what he is doing and how the audience is most likely responding. And in one unforgettable scene, Haneke pulls the cathartic rug right out from under the viewer, playing with the actual medium of cinema in an infuriating and ingenious way. Roth and Watts give outstanding performances as the victims, matched by Pitt and Corbet's deeply unsettling creepiness. Just as Peter and Paul (who also call themselves Tom and Jerry and Beavis and Butt-Head) alternate between calm and violent, the soundtrack alternates between classical music by Handel, Mozart, and others and hardcore punk from John Zorn and Naked City. Though difficult to watch, FUNNY GAMES is ultimately a rewarding and illuminating film, though not for the squeamish. [More]
Starring: Naomi Watts, Michael Pitt, Tim Roth, Brady Corbet
Starring: Naomi Watts, Michael Pitt, Tim Roth, Brady Corbet, Devon Gearhart
Director: Michael Haneke
Director: Michael Haneke
Screenwriter: Michael Haneke
Producer: Hengameh Panahi, Christian Baute, Andro Steinborn, Chris Coen, Hamish McAlpine
Studio: Warner Independent
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Reviews for Funny Games
What's terrible and irritating about the film is that Haneke isn't doing it to tell a story. He just wants to punish us for wanting to see this movie in the first place.
The worst of the violence occurs off-screen, but Funny Games is still a vicious, vicious movie.
An actors' showcase and a hefty serving of director Michael Haneke's self indulgence
It's one of the most repugnant, unpleasant, sadistic movies ever made. No matter what virtues of craft one can find within, no matter what themes lie beneath, Funny Games is aesthetically indefensible.
I would absolutely defend Haneke’s right to relaunch his broadside on our voyeuristic vices, but he’s not keeping up with the times; he’s behind them.
The only ambiguity in Funny Games lies in who’s most abused here, the characters or the audience?
The only real torture here is the one Haneke inflicts on the audience.
Haneke keeps a lot of the brutality off screen, the more to stimulate our imaginations, don't you know.
Either one subscribes to Haneke's breathless nihilism and sarcasm or you give up immediately and write the whole thing off as another Eurotrash director masturbating with his camera...my personal choice is a nap.
Michael Haneke has made a film that's neither smart nor powerful, but instead just miserable and disrespectful of its audience, and nothing more.
The last thing I expected was to walk out of a theater showing Funny Games with a smile on my face.
The film's deliberate pace combines with an overall bleakness to alienate the viewer.
Haneke's rigorously intellectual, curiously controlled approach all but guarantees that we observe these Funny Games from a distance, with a sense of detachment, rather than sharing the victims' wrenching anguish.
While Haneke is attacking our culture for being drawn to violent fare, he is also relishing in presenting it to us, in prolonged and detailed fashion.
Haneke's been quoted as saying he wants his movies to make people think, but Funny Games is 110 minutes of pure reptile-brain jolts (fear, mostly), with a couple of meta-narrative finger wags thrown in.
That this relentless barrage of psychological and physical torture is extremely well made and powerfully performed -- Watts hurls herself into her physically demanding role with heroic conviction -- somehow makes it worse.
Haneke’s assault on our fantasy lives is shallow, unimaginative, and glacially unengaged -- a sucker punch without the redeeming passion of punk.
This iteration of the slow-moving story features many of the same beats and shocks as its predecessor, which - of course - ensures that the movie also suffers from precisely the sort of overwhelming problems that plagued the original.
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