Synopsis
Tom Stall had the perfect life … until he became a hero.
An average family is thrust into the spotlight after the father commits a seemingly self-defense murder at his diner.
2005 Directed by David Cronenberg
An average family is thrust into the spotlight after the father commits a seemingly self-defense murder at his diner.
Goro Koyama Andy Malcolm Michael O'Farrell Don White Wayne Griffin Christian T. Cooke Clive Turner Mark Zsifkovits Orest Sushko Glen Gauthier
暴力效應, 폭력의 역사, Una Historia Violenta, Una Historia de Violencia, Тъмно минало, Una història de violència, Dějiny násilí, Το Τέλος της Βίας, Una historia de violencia, Una historia violenta, Une histoire de violence, היסטוריה של אלימות, Povijest nasilja, Erőszakos múlt, ヒストリー・オブ・バイオレンス, Smurto istorija, Historia przemocy, Marcas da Violência, Uma História de Violência, O istorie a violenței, Оправданная жестокость, História násilia, Şiddetin Tarihçesi, Виправдана жорстокість, Quá Khứ Tội Ác, 暴力史
Intense violence and sexual transgression Crime, drugs and gangsters gangster, crime, criminal, violence or ruthless violence, shock, disturbing, brutal or graphic cops, murder, thriller, detective or crime murder, crime, drama, gripping or victim cannibals, gory, gruesome, graphic or shock Show All…
I think if Viggo Mortensen was in every movie ever made, the world would be a better place.
100
David Cronenberg has frequently questioned the barriers of our physicality when confronted with the limitless potential of technology. How our bodies react when the unnatural is able to satisfy a certain itch beyond our current evolution. He's always been on a precipice of transformation, confronted with the ghosts in the machine, broken ceilings of self and sexuality and humanism. Understanding that a new world is just around the corner, and you're turned on by it but terrified at where the path might lead. So it's fitting that A History of Violence is akin to a primordial soup - the genesis of tendencies and outbursts that define our past and future. The beginning of the End. Cronenberg doesn't literally go…
Unforgiven for plaid shirt and jeans southwestern ontario farm dads. pretty broad material with regard to identity and violence but it has a freshly bruised, existential feeling to it, an open-wound stickiness and brutality and sexuality that only cronenberg could pack it with and the cast is aces. i think about this line-reading by william hurt like once a month at least.
[35mm]
Rotten Tomatoes: 87%
Metacritic Metascore: 81
IMDB: 7.4
89/100
Release Date: 30 September 2005
Distributor: New Line Cinema
Budget: $32M
Worldwide Gross: $61.3M
Total Film Awards: 37
OSCAR Nominations: 2
Richie Cusack: "Does it work for you? I can't see it working for me. I never got the urge, you know? A lot of great-looking women in the world. I never met one made me wanna give up all the others."
SYNOPSIS: A mild-mannered man becomes a local hero through an act of violence, which sets off repercussions that will shake his family to its very core in this action thriller.
Cronenberg's adaptation of a Wagner and Locke graphic novel places a simple American family man, and his all-American family,…
So many angles of attack in this one: it’s simple; it’s sophisticated; it’s Spartan; it’s double-edged; it’s familiar; it’s startling; it’s goofy; it’s nightmarish. And it’s all held together by probably the richest pair of lead performances in any Cronenberg movie since THE FLY, a husband and wife with different yet finally convergent fetishes for role playing, Viggo hilarious as a man carefully measuring his every move until the jig is up and Maria Bello wringing consistently interesting variations on the idea of commitment. Great fun, including some slapstick gunplay that signals our hero’s awareness of the kind of movie his financiers wanted him to make, and which he has, but only in a fashion, and, as ever, on his own terms
Ford updated to 21st century. History as series of self-deceptions as myth gets subdued into role playing. Cronenberg clear direction blows everything wide open. As the title, perhaps the most wry joke in a pretty funny movie, promises it is very surgical handled. It is a neowestern that like most post bicentennial western barely bothers to disguise that it isa mainstream art movie, but there's hardly a ponderous note and while Cronenberg finds an impressive double balance between delivering the goods (meaning blowing heads up) and implicating the audience (meaning keeping critics happy), it has an impressive propulsive quality. A self-annihilating journey that follows as impeccable as it inevitable towards a release. The blocking is so sharp, so direct and…
Oh, that's why it's called A History of Violence. Before today I thought the film is about violent events spanning over a period of time, you know, a history of violence? Violence's history? Nevermind, I'm dumb.
The film? It's alright. Just like how they're selling it -- violent. Didn't know you can fuck up a person's face this bad with only your bare hands. Ed Harris is the boss. Aragorn is the boss's boss. (Everyone in the film seems to call him Tom. Yeah right, you're not fooling anyone. He's Aragorn.) Awesome performances throughout.
I think I should mention that this is my first Cronenberg film and I understand this is his least interesting work. A toned down Cronenberg, yes,…