If you're feeling overwhelmed, but still want to squeeze a film into your daily routine, this list is made for…
A new comedy of no manners
In Brooklyn Bridge Park, eleven year old Zachary Cowan strikes his eleven year old classmate Ethan Longstreet across the face with a stick after an argument. After learning about the altercation. The Longstreet parents decide to invite the Cowan parents to their Brooklyn apartment to deal with the incident in a civilized manner.
Language. It can be used to create and to destroy. For me that's what this film was all about.
We see four people who slowly strip away social conventions and eventually show their true selves, all because of the incessant need to talk, justify oneself and outwit others.
You cannot get around the fact that this is a play. One location, four actors and an insane amount of dialogue. For a film like this to work the acting has to be perfect. And it is. All four of them are absolutely fantastic, they portray the slow descent into social and moral ambiguity in such a way that, although the characters are somewhat stereotypical, you always get the feeling you're watching…
This is truly one of the most violent movies that I have come across. Violence in the sense which considers human emotions. The true colour, savageness,guilt,anger,ego,superficial empathy, crookedness, disgust that human beings have as their innate nature are shown in full glory here. All the leads are excellent. Foster does too much sometimes. But waltz and Reilly truly steal the show. I am searching for a single word which best describes the movie. But I dont seem to get it. Oh wait I got it. Its CARNAGE.
It astounds me - even more so on rewatch - that a film that, aside from the opening and closing shots, basically only takes place in the living room of an apartment (occasionally moving out to the hallway and brief moments throughout other parts of the home) with four people bickering at one another for 80 minutes, can be so intriguing and consistently entertaining. It's quite impressive. Roman Polanski's spot-on direction, the interesting dialogue and, of course, the excellent performances from the four actors themselves is what truly keeps this from ever becoming a monotonous mess of a film.
Plus, ever since first seeing Christoph Waltz in Tarantino's Inglourious Basterds back in '09, I always look forward to and love seeing him in things. This is no exception.
Why can't they leave? From El Ángel Exterminador (1962), the answer has been implied. "It's absurd, but it's in their nature. They just can't!"
Based on Yasmina Raza's play titled Le Dieu du Carnage (God of Carnage), Polanski adapts wonderfully and with a truly underrated array of great, though theatrical performances (especially Foster, who gets a lot of unfair criticism) a roller-coaster intellectual exercise of how your typical middle-class veil of politeness and mutual caring is broken down when either your ethical, social or moral standards are challenged by external factors that you cannot avoid because you were unwillingly involved in them since the very beginning. In this case, such factor is the son of a family hitting the son…
This film, which is one of Roman Polanski's latest, is a highly-entertaining chamber piece. In it, 2 sets of parents, played by John C. Reilly/Jodi Foster and Christoph Waltz/Kate Winslet, meet in order to cordially discuss a minor physical altercation that occurred between their two young sons.
The dynamic between each person is constantly changing, as allies quickly become enemies then back again, depending on the current topic of conversation. I always find both Christoph Waltz and John Reilly a joy to watch, and they don't disappoint. Foster an Winslet were great here, too.
Clocking in at under 90 minutes, the time flew by quickly, and I was thoroughly entertained, often laughing aloud. The film kept getting better as it progressed.
I love you, John C. Reilly. The rest of you are alright too!
Deutscher Titel: Der Gott des Gemetzels
Ich mag Christoph Waltz und gute Kammerspiele.
I dare say social obligation and awkwardness has never been more perfectly portrayed than in the opening 20 or 30 minutes of this film. The first act is simply perfection. While CARNAGE is great overall, this first third is the film's peak. What begins as two adult couples trying civilly, albeit feigned at times, to reconcile a playground occurrence among their sons turns into all-out philosophical and animalistic... carnage. As the passive aggressive digs start to take hold so do the social obligations start to diminish. As the roller coaster of tensions keeps rising and falling and the single malt scotch keeps flowing, the couples begin turning against one another, momentary finding allies among gender lines, and the plot begins…
New enemies become old friends become new enemies. It's all temporary though. "What did you expect, some revelation about universal values? ...This scotch is unbelievable!"
This is a masterwork of psychological horror.
Just like Wes Craven innovated horror with Nightmare on Elm Street, then re-innovated with Scream; Polanski innovated with Rosemary's Baby, and Carnage is his Scream.
GET OUT OF MY CAUCASIAN HOUSE
79 / 100
Niilism, dark humor and cringe at its best.
it finally has an order and i'm at peace
Great 60-90 min films (for those days when you just don't have the energy to watch a 3 hour masterpiece)
Doesn't the title of the list explain it well enough? This is a list of hight quality "short" films. Easy…