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.
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
Offers viewers opportunities to ponder a variety of diverse subjects, but its overall entertainment value is less than one might hope for.
A sophisticated and pensive film about a subject that fills contemporary movies and fuels our fantasies.
Often a pretentious struggle, saved only by the important, relevant theme that occasionally emerges.
With The End of Violence Mr. Wenders has made a film as resonant as his most memorable work.
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.
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.
Wenders' observations and subtextual commentary about violence in American society are well-served by the nuances of Nicholas Klein's script.
This goes on for two hours and two minutes. When I staggered out of the theater, I asked if Clinton was still president.
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.
The flippancy of Wenders and Nicholas Klein's script, and the lethargic performances of a star-studded cast, trivialize presumably good intentions.
Las respuestas quedan flotando en el espectador, esperando ser rescatadas y entendidas.
Wenders has succeeded in creating a mishmash of incendiary images about government conspiracy theories, but leaves the story up in the air.
| Tomatometer Percentage | Movie |
|---|---|
| 66% 66% | Public Enemies |
| 83% 83% | Harry Potter and the H… |
| 44% 44% | Night at the Museum: B… |
| 75% 75% | Julie & Julia |
| 32% 32% | Terminator Salvation |
| Tomatometer Percentage | Movie |
|---|---|
| 88% 88% | Inglourious Basterds |
| 78% 78% | The Hangover |
| 49% 49% | Taking Woodstock |
| 26% 26% | The Goods: Live Hard, Sell Hard |
| 47% 47% | The Girl From Monaco |
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