Offers a persuasive look at a defeated but defiant nation in flux.
Max (2002)
Tomatometer
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Reviews Counted:110
Fresh:76
Rotten:34
Average Rating:6.4/10
Consensus: Well-acted in the execution of its provocative "what-if?" premise.
Theatrical Release:Dec 27, 2002 Limited
Box Office: $215,134
Synopsis:
Munich,1918: In a world reeling from World War One and the shock of the new, everyone's mind is on the future. It is a time of high-octane debate and dreams of drastic change, a time when the lines...
Munich,1918: In a world reeling from World War One and the shock of the new, everyone's mind is on the future. It is a time of high-octane debate and dreams of drastic change, a time when the lines between art, politics and personal beliefs have been blurred beyond reckoning. The only question that remains is this: now what? In what direction will things turn next?
For Max Rothman (JOHN CUSACK), a soldier just returned from the Great War, the present has certainly turned out radically different from what he imagined. He returned from the war, one of the walking wounded, a damaged man trying to sort out his life. Once a promising artist, he lost his right arm and with it, his ability to paint. Yet the future still draws Max like a magnet, fueled by the restlessness, typified by the birth of modernism. Now, he opens up what quickly becomes an acclaimed art gallery. Also caught in the Post-War struggle are his beautiful wife (MOLLY PARKER) and children, a once picturesque family, now torn by uncertainty and Max's infatuation with his alluring artistic mistress (LEELEE SOBIESKI).
But then, at a celebratory party for the opening of his new show, Max meets another man interested in the future: a fellow war veteran and aspiring painter, a man with no family, no home and no friends. His name: Adolf Hitler (NOAH TAYLOR), and his decision to transfer his creative talents to politics, where at last he finds an outlet for his raw beliefs, sets into motion the most catastrophic period of the 20th century.
From Oscar-nominated screenwriter Menno Meyjes ("The Color Purple") comes MAX, a story of two unlikely friends facing an uncertain future and one's fateful decision to embrace a nightmare vision of evil. Deeply unsettling, defiantly humorous and ultimately, tragically moving, MAX is more historical fable than straight-ahead historical drama -- a tale that careens through art, politics, love, hope, intolerance, obsession and destructive malevolence to provide an original and intimate portrait of a major turning point in modern history.
MAX is the directorial debut of Menno Meyjes, who also wrote the screenplay. The film is produced by Andras Hamori ("Sunshine," "The Sweet Hereafter," "existenz").
"Meyjes mostly wanted Max Rothman to exist in a kind of state of timelessness -
to look, sound and feel as if he could exist just as easily in the 21st century, as if his idealism and energy could be part of today's culture…"
-- © 2002 Lions Gate Films
Starring: John Cusack, Noah Taylor, Leelee Sobieski, Molly Parker
Starring: John Cusack, Noah Taylor, Leelee Sobieski, Molly Parker, Ulrich Thomsen, David Horovitch, Janet Suzman, Kevin McKidd
Director: Menno Meyjes
Director: Menno Meyjes
Screenwriter: Menno Meyjes
Producer: Andras Hamori
Composer: Dan Jones
Studio: Lions Gate Films
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Reviews for Max
For all the food for thought offered by the film, its overall success is diminished by the fact that there's too much Max and not enough Hitler.
Max doesn't 'humanize' Hitler, but makes him frighteningly plausible as a dud artist who took revenge by twisting history into a personal, obscene project.
Leaves us wondering less about its ideas and more about its characterization of Hitler and the contrived nature of its provocative conclusion.
A fascinating what-if portrayal of a time that was and events that might have been.
Max pokes, provokes, takes expressionistic license and hits a nerve...as far as art is concerned, it's mission accomplished.
The drama depicts Hitler as passive and pathetic -- nearly, in a sense, letting him off the hook for his grotesque crimes.
..A film that is entirely made up of foreshadowing, about this skinny, pale, portrait artist, before he would be the mad icon we think of him as today.
It doesn't offer audiences any way of gripping what its point is, or even its attitude toward its subject.
The film manages to be a fascinating and generally well-made look at two disparate men during a period of pending change in post WWI Germany.
The premise is in extremely bad taste, and the film's supposed insights are so poorly thought-out and substance-free that even a high school senior taking his or her first psychology class could dismiss them.
If it's not a completely successful film, it is at the very least an intriguing effort to humanize the demon.
At first, he ridicules Adolf's claims to connections between art and politics: "Would you rather teach them a new way to see, or how to pay their taxes?" he asks.
With lines that feel like long soliloquies -- even as they are being framed in conversation -- Max is static, stilted.
Latest News for Max
April 20, 2005:
Cusack and Peet Have a Favorite "Martian"
Described by The Hollywood Reporter as "a cross between E.T. and Parenthood" is the upcoming family film "The Martian Child." John Cusack ("High... More...
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