The End of Violence (1997)
Average Rating: 4.8/10
Reviews Counted: 33
Fresh: 9 | Rotten: 24
No consensus yet.
Average Rating: 4.6/10
Critic Reviews: 10
Fresh: 1 | Rotten: 9
No consensus yet.
Average Rating: 2.9/5
User Ratings: 2,379
Wim Wenders directed this allegorical drama about the emotional impact of violence in our culture, set against the backdrop of California's entertainment business. Mike Max (Bill Pullman) is a Hollywood producer who has earned a great deal of money and power in the film industry through his success with a series of brutally violent action pictures. While Max can juggle any number of tasks while working, he can't find time for his wife Paige (Andie MacDowell), and when she announces that she's
Sep 12, 1997 Wide
Mar 28, 2000
K. Todd Freeman
Pruitt Taylor Vince
Enrique J. Castillo
Nicole Ari Parker
Marisol Padilla Sanc...
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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.
This goes on for two hours and two minutes. When I staggered out of the theater, I asked if Clinton was still president.
Offers viewers opportunities to ponder a variety of diverse subjects, but its overall entertainment value is less than one might hope for.
With The End of Violence Mr. Wenders has made a film as resonant as his most memorable work.
Boring, incoherent and insultingly didactic. It's like Wenders has never been to America, never observed Americans and never even seen an American movie.
astonishing but uneven
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.
The flippancy of Wenders and Nicholas Klein's script, and the lethargic performances of a star-studded cast, trivialize presumably good intentions.
It has its virtues -- Wenders is a skilled and thoughtful workman -- but hovers somewhere between a thriller and an art-house movie and won't fully satisfy fans of either.
A horrendous, useless, soulless, sprawling two hours of your life you will not get back.
Often a pretentious struggle, saved only by the important, relevant theme that occasionally emerges.
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.
It's practically an antimovie, almost plotless, self-referential, and unsettling. It refuses to wrap up neatly or comfortingly. But it's one of the most provocative films in years.
If Wenders does not succeed in condemning the role of violence in movies (which was not his intention), he does unfold a work of intricate texture.
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