A disjointed mess where a lot goes on but nothing happens.
The End of Violence (1997)
Tomatometer
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Reviews Counted: 33
Fresh: 9
Rotten:24
Average Rating: 4.9/10
Runtime: 2 hrs 15 mins
Genre: Dramas
Synopsis: A Hollywood producer of violent action movies reflects on his ambitious, materialistic life after succumbing to the vagaries of street violence. His attack is captured on a new city-wide... A Hollywood producer of violent action movies reflects on his ambitious, materialistic life after succumbing to the vagaries of street violence. His attack is captured on a new city-wide surveillance system, whose creator, while reviewing the details of the assault, comes to suspect the far-reaching implications of his brainchild. A morality play by German auteur Wenders on the evils of violence as well as the consequences of the actions taken against it. [More]
Starring: Bill Pullman, Andie MacDowell, Gabriel Byrne, Loren Dean
Starring: Bill Pullman, Andie MacDowell, Gabriel Byrne, Loren Dean, Traci Lind, Daniel Benzali, K. Todd Freeman, John Diehl, Pruitt Taylor Vince, Peter Horton, Udo Kier, Enrique Castillo, Nicole Parker, Rosalind Chao, Marisol Padilla Sanchez, Marshall Bell, Frederic Forrest, Henry Silva, Sam Fuller
Director: Wim Wenders
Director: Wim Wenders
Screenwriter: Nicholas Klein
Story: Wim Wenders, Nicholas Klein
Producer: Nicholas Klein, Deepak Nayar, Wim Wenders
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Reviews for The End of Violence
Boring, incoherent and insultingly didactic. It's like Wenders has never been to America, never observed Americans and never even seen an American movie.
Wenders' observations and subtextual commentary about violence in American society are well-served by the nuances of Nicholas Klein's script.
A trama principal se perde em um emaranhado de cenas que, rigorosamente, nada acrescentam ao filme.
A sophisticated and pensive film about a subject that fills contemporary movies and fuels our fantasies.
Las respuestas quedan flotando en el espectador, esperando ser rescatadas y entendidas.
Unique atmosphere, solid performances and profound discussions about the nature of our violent, technology-obsessed society don't add up to enough by the end of the movie.
A muddled, sentimental Euro-American hash, redeemed here and there from its fatal purposelessness by a few moments that remind us we're in the presence of a genuine cinematic visionary.
We're left feeling disappointed that an opportunity to make a fine film was lost.
Consider the paradox: By the end of The End Of Violence, a preposterous film that rails against man's inhumanity toward man, you want to do violence. To the filmmaker.
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