Comments on: A HISTORY OF VIOLENCE by David Cronenberg http://www.moviereviewblog.net/2005/10/16/a-history-of-violence-by-david-cronenberg/ itsvery Movie Review - independent film reviews Wed, 20 Aug 2008 13:43:53 +0000 http://wordpress.org/?v=2.0.1 by: itsvery Movie Review Blog - Independent Film Reviews » EASTERN PROMISES by David Cronenberg http://www.moviereviewblog.net/2005/10/16/a-history-of-violence-by-david-cronenberg/#comment-11619 Tue, 15 Jan 2008 00:58:38 +0000 http://www.moviereviewblog.net/2005/10/16/a-history-of-violence-by-david-cronenberg/#comment-11619 [...] David Cronenberg doesn’t so much tell a story, but lets Anna/Naomi Watts and the audience take a brief glimpse into another world - the dangerous and violent world of the (Russian) mafia, where a strict code is being followed - and the punishment for breaking the code is death. In a world of crime, drugs, prostitution and rivaling clans, loyalty is much in demand, but no guarantee for a long life - a loyal henchman will be sacrificed as unscrupulously as any outsider threatening the safety of the mafia, and the subaltern is probably already scheming to take over the position of his boss. These are not people the average person is - or should be - in contact with, and Nikolai himself gives Anna the good advice “Stay away from people like me”. And of course Cronenberg doesn’t shy away from showing the ugly side of this world and it’s violence - briefly, like in A History Of Violence, but shockingly intense and effective, as you would expect from the master of body horror. The instantly classic fight sequence - Viggo Mortensen, nude in the bathhause, battles two armed killers - tops the Bourne-fights and is sure to set a new standard for action films. [...] […] David Cronenberg doesn’t so much tell a story, but lets Anna/Naomi Watts and the audience take a brief glimpse into another world - the dangerous and violent world of the (Russian) mafia, where a strict code is being followed - and the punishment for breaking the code is death. In a world of crime, drugs, prostitution and rivaling clans, loyalty is much in demand, but no guarantee for a long life - a loyal henchman will be sacrificed as unscrupulously as any outsider threatening the safety of the mafia, and the subaltern is probably already scheming to take over the position of his boss. These are not people the average person is - or should be - in contact with, and Nikolai himself gives Anna the good advice “Stay away from people like me”. And of course Cronenberg doesn’t shy away from showing the ugly side of this world and it’s violence - briefly, like in A History Of Violence, but shockingly intense and effective, as you would expect from the master of body horror. The instantly classic fight sequence - Viggo Mortensen, nude in the bathhause, battles two armed killers - tops the Bourne-fights and is sure to set a new standard for action films. […]

]]> by: itsvery Movie Review - independent film reviews » MUNICH by Steven Spielberg http://www.moviereviewblog.net/2005/10/16/a-history-of-violence-by-david-cronenberg/#comment-81 Wed, 08 Feb 2006 23:38:53 +0000 http://www.moviereviewblog.net/2005/10/16/a-history-of-violence-by-david-cronenberg/#comment-81 [...] This is Steven Spielberg’s most “unspielbergian” film so far. No sentimentalities, no final carthasis, no heros. MUNICH is even more powerful than SCHINDLER’S LIST because it doesn’t have villains and victims and doesn’t take sides. It’s just people who do what their country demands them to do and what they think they have to do, and losing something invaluable on their way - their very soul. Is it a political film? Yes, because it covers real events and asks fundamental questions that are as current today as they were 30 years ago. How far can or must a government go to protect it’s people? Is there a justification for killing people? And does it do any good? The film doesn’t give the answers. But much more than a political film, it’s a human film. It shows how thin the layer of civilization is, how easily and impalpable it is removed, and what happens to people once this layer is removed - and it ain’t pretty. MUNICH is everything that Cronenberg’s A HISTORY OF VIOLENCE should have been and couldn’t achieve. Uncomfortable, unnerving, animating to think about politics current and past, the world, and life itself - essential viewing. [...] […] This is Steven Spielberg’s most “unspielbergian” film so far. No sentimentalities, no final carthasis, no heros. MUNICH is even more powerful than SCHINDLER’S LIST because it doesn’t have villains and victims and doesn’t take sides. It’s just people who do what their country demands them to do and what they think they have to do, and losing something invaluable on their way - their very soul. Is it a political film? Yes, because it covers real events and asks fundamental questions that are as current today as they were 30 years ago. How far can or must a government go to protect it’s people? Is there a justification for killing people? And does it do any good? The film doesn’t give the answers. But much more than a political film, it’s a human film. It shows how thin the layer of civilization is, how easily and impalpable it is removed, and what happens to people once this layer is removed - and it ain’t pretty. MUNICH is everything that Cronenberg’s A HISTORY OF VIOLENCE should have been and couldn’t achieve. Uncomfortable, unnerving, animating to think about politics current and past, the world, and life itself - essential viewing. […]

]]> by: Pacze Moj http://www.moviereviewblog.net/2005/10/16/a-history-of-violence-by-david-cronenberg/#comment-14 Mon, 17 Oct 2005 01:55:26 +0000 http://www.moviereviewblog.net/2005/10/16/a-history-of-violence-by-david-cronenberg/#comment-14 I agree -- thin plot's not good enough to make a better-than-average thriller and not nearly enough depth to make an engaging "art" film. The character of the son is interesting, though. It's unexplored, but where does his ability for violence come from? I agree — thin plot’s not good enough to make a better-than-average thriller and not nearly enough depth to make an engaging “art” film.

The character of the son is interesting, though. It’s unexplored, but where does his ability for violence come from?

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