it is not a surprise. the cast is great and the script/play gives many opportunities for demonstrate this fact. image of a crisis, simple and powerful, impressive for the precision of scenes,a play who has chance to has extraordinary actors, it is a splendid exploration of characters and society human types. a special film who seems be almost extravagant.because all is different by common recipes. the transformation of masks in aggressive tools, the fragility of existences and marriages, the force of accusations, the frustrations as axis of a form of survive. a bitter comedy, a deep drama. and one of guide movies who reminds the purpose of real cinema - art as subtle reflection of life.
239 Reviews
Extremely promising start ... almost ruined by an abrupt and anticlimactic conclusion ...
ElMaruecan8213 March 2012
Warning: Spoilers
When movie characters have many opportunities to leave but stay in a place, we quickly understand -and not without excitement- that the movie will have only one setting.
On that aspect, "Carnage" tries to resemble "Who's Afraid of Virginia Woolf?" through a plot consisting in a conflict between two couples. I say 'try' because it's also a rare example of a marvelous potential totally wasted, coming so close to be a comedic gem of originality. I couldn't believe Roman Polanski didn't go farther with the concept he had on his hands. How he let the film end in such an abrupt and, let's face it, anticlimactic way, is a total mystery.
"Carnage" starts with a civilized discussion between two couple of parents, their kids had a fight, the little Cowan broke little Longstreet's two teeth. The Cowans (Nancy and Alan) are played by Kate Winslet and Christoph Waltz, and the Longstreets (Michael and Penelope) by John C. Reilly and Jodie Foster. To determine which actor out-shined the other is a futile exercise: they were all great, and the script knows how to give to each one a moment to shine. The discussion is full of social hypocrisy, the Cowans don't deny their son's responsibility but the insistence of Penelope on little Cowan's guilt foreshadows a tension between the couple and the pivotal moment happens in the most unlikely way, through a big outburst of vomit. As soon as Nancy pukes, the movie takes us to one exhilarating ride into human relationships.
The underlined theory behind "Carnage" is that we all have two facets when it comes to our adult behavior, the image we'd like to reflect to society and whatever cements our inner personality. Interestingly, "Carnage" shows the gap between these parts of ourselves we prefer to keep intimate and the image we display as a couple, and that's the key of the film's narrative. In the beginning, it's about two couples, and then it desegregates into four protagonists, each one guided by his or her own issues. The performances are crucial because the point is to allow each viewer to identify with one character while the actions of the others remain justifiable. Indeed, no one is right or wrong, but each one is blinded by a subjectivity that underlines any attempt of a rational judgment. And the funniest thing is that they all try to be objective when it's totally impossible.
Take Penelope for instance, she is an idealist humanitarian that extrapolates the problem of her child to the eternal conflict between the weak and the strong, she embodies the feminist aspect that translates almost everything in terms of conflict, it's all about dominant this and oppressed that. She proudly reminds everyone that she defended the Darfour cause, neglecting that the core of most conflicts in the world is profit and greed, regardless of genders and colors of skins. Ironically, her idealism doesn't prevent her from superficiality when she makes a fuss about a catalog messed up by Nancy's vomit. On the other hand, Michael assumes his superficiality and enjoys life with more detachment. He takes that his boy was in a band with a sort of childish pride that betrays a naive and somewhat good nature, but clearly opposed to his wife's philosophy of life.
The Cowans are more sophisticated and dysfunctional enough to justify a failure in their son's education, but something seems to point the fault on Alan as the eternal workaholic who can't get rid of his phone. The second pivot of the film occurs through the bonding process by gender, when the two men try to not overreact and over-analyze the children's problem, and the two women make it personal. And when the plot was getting more and more exciting, then Nancy took Alan's cell phone and threw it in the water, making the two men struggle to repair it, under the wives' mockeries. Then I started to feel manipulated: as a guy, I know that we, men, have many flaws but not being obsessed by objects; otherwise, we would have purses too. I thought this was a risible attempt to ridicule the guys when the two women were obviously bonding in a most grotesque way.
This highlighted what was for me the problem of the film, the pacing, it was fast, and it seemed to be like in a hurry, without a pause, or some time given to let us catch our breath. Shot in real time, it seemed like the director and the writer were in a hurry to conclude the thing, without giving much answers on the few interesting questions it raised. The mothers had to drink to get drunk fast and behave abnormally very soon. I expected a crescendo evolution that would lead to some audacity, maybe a fight, or a realization. But it felt like the whole concept of the film, adapted from a play written by Yasmina Reza was trapped in a sacred respect of the unity of time, space and plot, with no plot whatsoever.
Amusingly, my wife told me that it was typical of a Yasmina Reza play, and she immediately slept after half an hour, expecting that the movie would lead nowhere. I continued the film and I thought that maybe, it was cleverly preparing for a spectacular climax or some mind-blowing statement about couples. Well, it just ended there and I couldn't help but feel a bit cheated. Since the movie doesn't end having a point in the literal meaning of the world, I guess its point was just to depict how manners and politeness are social masks that can easily get removed when the most sensitive issues are tackled, and while even the couple's facade fails to hide the most intimate convictions.
I'm sure it could have taken more distance and explored more interesting points, but since the writer and the director didn't feel like developing the story and the characters, why should we?
On that aspect, "Carnage" tries to resemble "Who's Afraid of Virginia Woolf?" through a plot consisting in a conflict between two couples. I say 'try' because it's also a rare example of a marvelous potential totally wasted, coming so close to be a comedic gem of originality. I couldn't believe Roman Polanski didn't go farther with the concept he had on his hands. How he let the film end in such an abrupt and, let's face it, anticlimactic way, is a total mystery.
"Carnage" starts with a civilized discussion between two couple of parents, their kids had a fight, the little Cowan broke little Longstreet's two teeth. The Cowans (Nancy and Alan) are played by Kate Winslet and Christoph Waltz, and the Longstreets (Michael and Penelope) by John C. Reilly and Jodie Foster. To determine which actor out-shined the other is a futile exercise: they were all great, and the script knows how to give to each one a moment to shine. The discussion is full of social hypocrisy, the Cowans don't deny their son's responsibility but the insistence of Penelope on little Cowan's guilt foreshadows a tension between the couple and the pivotal moment happens in the most unlikely way, through a big outburst of vomit. As soon as Nancy pukes, the movie takes us to one exhilarating ride into human relationships.
The underlined theory behind "Carnage" is that we all have two facets when it comes to our adult behavior, the image we'd like to reflect to society and whatever cements our inner personality. Interestingly, "Carnage" shows the gap between these parts of ourselves we prefer to keep intimate and the image we display as a couple, and that's the key of the film's narrative. In the beginning, it's about two couples, and then it desegregates into four protagonists, each one guided by his or her own issues. The performances are crucial because the point is to allow each viewer to identify with one character while the actions of the others remain justifiable. Indeed, no one is right or wrong, but each one is blinded by a subjectivity that underlines any attempt of a rational judgment. And the funniest thing is that they all try to be objective when it's totally impossible.
Take Penelope for instance, she is an idealist humanitarian that extrapolates the problem of her child to the eternal conflict between the weak and the strong, she embodies the feminist aspect that translates almost everything in terms of conflict, it's all about dominant this and oppressed that. She proudly reminds everyone that she defended the Darfour cause, neglecting that the core of most conflicts in the world is profit and greed, regardless of genders and colors of skins. Ironically, her idealism doesn't prevent her from superficiality when she makes a fuss about a catalog messed up by Nancy's vomit. On the other hand, Michael assumes his superficiality and enjoys life with more detachment. He takes that his boy was in a band with a sort of childish pride that betrays a naive and somewhat good nature, but clearly opposed to his wife's philosophy of life.
The Cowans are more sophisticated and dysfunctional enough to justify a failure in their son's education, but something seems to point the fault on Alan as the eternal workaholic who can't get rid of his phone. The second pivot of the film occurs through the bonding process by gender, when the two men try to not overreact and over-analyze the children's problem, and the two women make it personal. And when the plot was getting more and more exciting, then Nancy took Alan's cell phone and threw it in the water, making the two men struggle to repair it, under the wives' mockeries. Then I started to feel manipulated: as a guy, I know that we, men, have many flaws but not being obsessed by objects; otherwise, we would have purses too. I thought this was a risible attempt to ridicule the guys when the two women were obviously bonding in a most grotesque way.
This highlighted what was for me the problem of the film, the pacing, it was fast, and it seemed to be like in a hurry, without a pause, or some time given to let us catch our breath. Shot in real time, it seemed like the director and the writer were in a hurry to conclude the thing, without giving much answers on the few interesting questions it raised. The mothers had to drink to get drunk fast and behave abnormally very soon. I expected a crescendo evolution that would lead to some audacity, maybe a fight, or a realization. But it felt like the whole concept of the film, adapted from a play written by Yasmina Reza was trapped in a sacred respect of the unity of time, space and plot, with no plot whatsoever.
Amusingly, my wife told me that it was typical of a Yasmina Reza play, and she immediately slept after half an hour, expecting that the movie would lead nowhere. I continued the film and I thought that maybe, it was cleverly preparing for a spectacular climax or some mind-blowing statement about couples. Well, it just ended there and I couldn't help but feel a bit cheated. Since the movie doesn't end having a point in the literal meaning of the world, I guess its point was just to depict how manners and politeness are social masks that can easily get removed when the most sensitive issues are tackled, and while even the couple's facade fails to hide the most intimate convictions.
I'm sure it could have taken more distance and explored more interesting points, but since the writer and the director didn't feel like developing the story and the characters, why should we?
Carnage is an excellent dark comedy which requires multiple viewing
saadgkhan12 March 2012
CARNAGE – CATCH IT ( A ) Carnage is one of a kind movie about the meeting held between two set of parents regarding their sons fight in the Brooklyn Park. What starts as a meeting between the parents to determine what led to the fight, turns into the most chaotic day of their lives. Carnage is truly splendid, its four characters in one costume in one apartment. The whole movie is like a theater play where it seems that all is said and done in one shot. Roman Polanski got his hands on some of the most talented actors like Jodie Foster, Kate Winslet, Christoph Walts and John C.Reilly. All the actors have done a tremendous job in showcasing Sensible, Polite, Patient, Direct, Tense, Irritated, Defensive, Outraged, Drunk, Insanity, Chaos, Mayhem, Devastation, Violent, Persuasive, Shocking, Appalling, Juvenile, Massacre and Grotesque emotions. I must say that the ending and the whole hamster story in the movie was hilariously excellent. Overall, Carnage is an excellent dark comedy which requires multiple viewing to understand the characteristics and greatness in the performances of the actors.
Virginia Woolf Lite
JohnDeSando11 January 2012
Working on a "sense of community," the two couples in Carnage engage in slowly evolving urban warfare, precipitated by violence in the playground between their two sons. This adaptation from the Broadway play, God of Carnage, is a soberer (by a little) version of Edward Albee's Who's Afraid of Virginia Woolf?
Penelope (Jody Foster) and Michael (John C. Reilly) host Nancy (Kate Winslet) and Alan (Christof Waltz) in their Brooklyn apartment to iron out difficulties coming from their sons' fight, which resulted in Penelope and Michael's son's mangled mouth. What begins civilly escalates to a raw verbal mêlée with all players laying bare their prejudices and weaknesses while the issue of the repentance of Nancy and Alan's child becomes a vehicle for class and culture clash. As in director Roman Polanski's Rosemary's Baby, the action is almost exclusively in the small, one bedroom apartment, resulting in an uncomfortable crowding of bodies and egos. And it doesn't take long for the individual differences to surface as one is conciliatory, another confrontational, another detached, and another bewildered.
Nor does it take long (only an 80 minute production anyway) for alliances to build (and not necessarily in the same couple) with the refrain "Why are we still here?" becoming the battle cry. Yes, it doesn't turn out well, nor would most confrontations except that the civil veneer usually stays intact for most of us.
But when writers Yasmina Reza and Polanski allow the characters to speak their minds, albeit helped by Scotch, the drama gets good and the words become socially lethal. What I like best is the language, not elevated but sassy, smart, and colloquial: "Should we wrap this up?" Yes, it is a film to be wrapped, but there is no real end to the social jousting that goes on in our minds if not our mouths, which are sometimes beaten badly as careless children might do in their play.
Penelope (Jody Foster) and Michael (John C. Reilly) host Nancy (Kate Winslet) and Alan (Christof Waltz) in their Brooklyn apartment to iron out difficulties coming from their sons' fight, which resulted in Penelope and Michael's son's mangled mouth. What begins civilly escalates to a raw verbal mêlée with all players laying bare their prejudices and weaknesses while the issue of the repentance of Nancy and Alan's child becomes a vehicle for class and culture clash. As in director Roman Polanski's Rosemary's Baby, the action is almost exclusively in the small, one bedroom apartment, resulting in an uncomfortable crowding of bodies and egos. And it doesn't take long for the individual differences to surface as one is conciliatory, another confrontational, another detached, and another bewildered.
Nor does it take long (only an 80 minute production anyway) for alliances to build (and not necessarily in the same couple) with the refrain "Why are we still here?" becoming the battle cry. Yes, it doesn't turn out well, nor would most confrontations except that the civil veneer usually stays intact for most of us.
But when writers Yasmina Reza and Polanski allow the characters to speak their minds, albeit helped by Scotch, the drama gets good and the words become socially lethal. What I like best is the language, not elevated but sassy, smart, and colloquial: "Should we wrap this up?" Yes, it is a film to be wrapped, but there is no real end to the social jousting that goes on in our minds if not our mouths, which are sometimes beaten badly as careless children might do in their play.
Wonderful little drama/comedy
tecnogaming28 March 2012
Despite it's name, which should imply a very violent movie, this one is a wonderful little movie about social structures and the way its built within us to the point of forcing us to behave in certain ways.
The concept for this movie is simplistic to the maximum level. Just 2 couples discussing terms for their kid's fight. What seems to be a nice meeting to solve the problem soon became a carnage fight (of words only, gladly).
The movie allow us to explore the aspects of each of the 4 personalities, that's it, that's the movie, and it's great, superb, no music, no special effects, no induced drama, no additional details to color the movie. Simple, powerful, nicely done.
From all the movies coming from Hollywood these days, this one is a nice gift, top notch actors, great comedy, nicely put together, what more could you ask.
So, go on, see the movie, what are you waiting for!
The concept for this movie is simplistic to the maximum level. Just 2 couples discussing terms for their kid's fight. What seems to be a nice meeting to solve the problem soon became a carnage fight (of words only, gladly).
The movie allow us to explore the aspects of each of the 4 personalities, that's it, that's the movie, and it's great, superb, no music, no special effects, no induced drama, no additional details to color the movie. Simple, powerful, nicely done.
From all the movies coming from Hollywood these days, this one is a nice gift, top notch actors, great comedy, nicely put together, what more could you ask.
So, go on, see the movie, what are you waiting for!
A delightful stroll through the brutality of verbal carnage
StevePulaski22 March 2012
Roman Polanski's Carnage is without a shadow of a doubt the best black comedy I've seen since Bobcat Goldthwait's World's Greatest Dad. It's thin, but beyond commendable as it depicts two couples discussing the aftermath of what happened between their two children in an extravagant, beautiful Brooklyn (cough, cough Paris) condo.
The victim here is Ethan (both boys only appear at the very beginning and the very end), who was hit in the mouth with a stick, removing his two front teeth by another kid his age. His parents are salesman Michael (Reilly) and writer Penelope Longstreet (Foster) who are holding the meeting. The boy who was wielding the stick was Zachary, whose parents are loquacious Alan (Waltz) and nit-picky and openly insulting Nancy Cowan (Winslet). At first, the talk is presumed to be only a short meeting between two parents, both equally in stressful situations. It quickly transfers from a genial encounter to an almost blatant attack on the couples' separate ways of parenting. The Longstreet couple is more attached to the path of calmness and politically correctness, while the Cowan couple is more blunt, dictative, and downright nihilistic.
The performances are electric, with every actor giving their all to make the material work. At only seventy-nine minutes long and gridlocked into one standard setting, the slick writing manages to squeeze out humor, compassion, passive-aggressive behavior, and provide a social commentary on modern parenting all in one quick rapid-fire excursion.
Despite all the personal attacks that come into play later in the film, neither couple seems like the villain. It shows what pressure, a smothering setting, and a real problem involving their kids can do to people. Parenting is arguable one of the most challenging, yet rewarding experiences life brings many of us. It can only be further complicated when a confrontation between another child is brought into the picture. The film never becomes pictorial, and depicts the stress in a relaxed way that doesn't become dry or unbearable.
The film is based on a stage play, titled God of Carnage, which is really no surprise. The film plays like one big monologue, shot practically in real-time. If Hollywood got a hold of this formula, I could see a very, very bleak turnout. It would most likely focus more on the humor, making it too arrant, while oppressively hammering in one liners like a one-track, dull comedy. Here, we are more focused on timing, wit, style, and don't forget the development and substance. The care and attention needed to perfect an idea like this is all here, full force. No exceptions, no cop outs - just unadulterated honesty.
I mentioned in my review of The Myth of the American Sleepover that awkward silences and pauses were becoming too common in independent films. Silence, not in the sense of pacing or development, but a droning quietness between dialog that made films feel like a giant hole was cut in the screenplay. The characters in Carnage are quick on their comebacks and timing, making for a very interesting play-by-play. You want to yell your comments and remarks at the screen, but feel you'll disrupt the casual, sophisticated flow of the script.
Carnage is simply a masterful piece by a well-respected director. This is my introduction to Polanski's work, and probably my strongest welcoming to a director's vision next to Scorsese's Casino and Kevin Smith's Clerks. I recently mentioned in my review of Harry and Tonto that the greatest trait a film can possess is the trait of humanism, where the characters seem real, well thought out, and developed unconditionally. Carnage understands that trait inside and out. It could also very well be a comedy with more bad laughs than natural ones, including an ending that reigns truer to anything I've seen in a while. Its commentary on child development and parenting is efficient, and its intellectual side is brittle, realistic, and calm. This is easily one of the funniest, darkest comedies of 2011.
Starring: John C. Reilly, Jodie Foster, Christoph Waltz, and Kate Winslet. Directed by: Roman Polanski.
The victim here is Ethan (both boys only appear at the very beginning and the very end), who was hit in the mouth with a stick, removing his two front teeth by another kid his age. His parents are salesman Michael (Reilly) and writer Penelope Longstreet (Foster) who are holding the meeting. The boy who was wielding the stick was Zachary, whose parents are loquacious Alan (Waltz) and nit-picky and openly insulting Nancy Cowan (Winslet). At first, the talk is presumed to be only a short meeting between two parents, both equally in stressful situations. It quickly transfers from a genial encounter to an almost blatant attack on the couples' separate ways of parenting. The Longstreet couple is more attached to the path of calmness and politically correctness, while the Cowan couple is more blunt, dictative, and downright nihilistic.
The performances are electric, with every actor giving their all to make the material work. At only seventy-nine minutes long and gridlocked into one standard setting, the slick writing manages to squeeze out humor, compassion, passive-aggressive behavior, and provide a social commentary on modern parenting all in one quick rapid-fire excursion.
Despite all the personal attacks that come into play later in the film, neither couple seems like the villain. It shows what pressure, a smothering setting, and a real problem involving their kids can do to people. Parenting is arguable one of the most challenging, yet rewarding experiences life brings many of us. It can only be further complicated when a confrontation between another child is brought into the picture. The film never becomes pictorial, and depicts the stress in a relaxed way that doesn't become dry or unbearable.
The film is based on a stage play, titled God of Carnage, which is really no surprise. The film plays like one big monologue, shot practically in real-time. If Hollywood got a hold of this formula, I could see a very, very bleak turnout. It would most likely focus more on the humor, making it too arrant, while oppressively hammering in one liners like a one-track, dull comedy. Here, we are more focused on timing, wit, style, and don't forget the development and substance. The care and attention needed to perfect an idea like this is all here, full force. No exceptions, no cop outs - just unadulterated honesty.
I mentioned in my review of The Myth of the American Sleepover that awkward silences and pauses were becoming too common in independent films. Silence, not in the sense of pacing or development, but a droning quietness between dialog that made films feel like a giant hole was cut in the screenplay. The characters in Carnage are quick on their comebacks and timing, making for a very interesting play-by-play. You want to yell your comments and remarks at the screen, but feel you'll disrupt the casual, sophisticated flow of the script.
Carnage is simply a masterful piece by a well-respected director. This is my introduction to Polanski's work, and probably my strongest welcoming to a director's vision next to Scorsese's Casino and Kevin Smith's Clerks. I recently mentioned in my review of Harry and Tonto that the greatest trait a film can possess is the trait of humanism, where the characters seem real, well thought out, and developed unconditionally. Carnage understands that trait inside and out. It could also very well be a comedy with more bad laughs than natural ones, including an ending that reigns truer to anything I've seen in a while. Its commentary on child development and parenting is efficient, and its intellectual side is brittle, realistic, and calm. This is easily one of the funniest, darkest comedies of 2011.
Starring: John C. Reilly, Jodie Foster, Christoph Waltz, and Kate Winslet. Directed by: Roman Polanski.
A breath of fresh air
itamarscomix29 April 2012
In the face of such classics as Chinatown and Rosemary's Baby it would be a hollow statement to label Carnage one of Roman Polanski's best films; it's shockingly minimalistic compared to the rest of his catalog, and almost anachronistic in its old fashioned filmmaking style and stripped-down production. Many were probably disappointed by the film purely because of Polanski's name; it might have been better received if it was directed by a young newcomer. Case in point: 12 Angry Men and Who's Afraid of Virginia Woolf, directed by young newcomers Sidney Lumet and Mike Nichols, respectively. Both are still considered among the best each director achieved, but also as experimental debuts that would lead to bigger and more ambitious things. Obviously this is not the case with Carnage, which is a veteran director returning to his roots, to a minimalism not seen in his work since the 50's. And yet, it's so much better than any of the more ambitious films he made in recent years - The Ghost Writer, Oliver Twist, The Pianist and The Ninth Gate all having their merits, but none a real classic or any kind of a surprise.
Not to say that Carnage is as good as 12 Angry Men or Who's Afraid of Virginia Woolf, masterpieces of minimalism and cinematic landmarks. Carnage isn't any real news, cinematically speaking, but it's a wonderful exercise in acting and interaction, and if you're a fan of minimalistic cinema like I am you're bound to find interest in it. I never found it boring for a second - uncomfortable, yes, grating even, but never dull, I was completely drawn in by the wonderful performances of the leads - Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly - who manage to covey four complex, fascinating, repulsive and very realistic characters, and by the ever-shifting relationships and alliances between them. While it's clearly a filmed play - and Polanski let the original text shine - he makes excellent use of the possibilities the film format allows, from the bombastic and melodramatic to the quiet and subtle, neither of which is possible on stage, at least not in the same way.
Carnage isn't necessarily a masterpiece but it's a wonderful intellectual exercise and one of my favorite films of 2011. For fans of Roman Polanski or for anyone who loved minimalistic films with compact casts, from Who's Afraid of Virginia Woolf to Tape and Cube, it's highly recommended.
Not to say that Carnage is as good as 12 Angry Men or Who's Afraid of Virginia Woolf, masterpieces of minimalism and cinematic landmarks. Carnage isn't any real news, cinematically speaking, but it's a wonderful exercise in acting and interaction, and if you're a fan of minimalistic cinema like I am you're bound to find interest in it. I never found it boring for a second - uncomfortable, yes, grating even, but never dull, I was completely drawn in by the wonderful performances of the leads - Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly - who manage to covey four complex, fascinating, repulsive and very realistic characters, and by the ever-shifting relationships and alliances between them. While it's clearly a filmed play - and Polanski let the original text shine - he makes excellent use of the possibilities the film format allows, from the bombastic and melodramatic to the quiet and subtle, neither of which is possible on stage, at least not in the same way.
Carnage isn't necessarily a masterpiece but it's a wonderful intellectual exercise and one of my favorite films of 2011. For fans of Roman Polanski or for anyone who loved minimalistic films with compact casts, from Who's Afraid of Virginia Woolf to Tape and Cube, it's highly recommended.
Carnage
lasttimeisaw1 February 2012
Size matters, right? even for Roman, after the brilliantly intricacy-crafted THE GHOST WRITER (2010), the scale of CARNAGE shrinks just like a hors d'oeuvre, no wonder its lukewarm feedback is percolating in spite of the lure of 4 Oscar-bounded leading thespians. Actually the response is par for the course, the film hinges on a more stringent time schedule (literally the exact time audience spends in front of the big screen), which is too featherweight to be considered seriously for the Oscar race (referring to other play-adapted Oscar dearest CLOSER 2004 or DOUBT 2008, both at least possess a decent time span), but which doesn't thwart all the fun one could obtain from a feature film.
The disintegration of these two pairs of parents is intrigued bit by bit with derision, insult and disdain, the initial wrangle of two flatly unfamiliar couples are reflecting everyone's customary procedure of dealing with strangers, the approach of eclipsing others in a restrained manner in order not to break a fragile bottom line "our face of respect", and once Nancy (Kate Winslet's character) has lost her face with a hilarious vomit to all the civil pretentiousness, the battle of matrimony, sex, social supremacy and civil wit is officially instigated, the carnage of verbal assaults prevails and within a compact 80 minutes, the dialogues are drolly sharp and incisive, wounds are acute without bleeding,
The grand cast is beyond any accomplishment, Jodie Foster manifests her excellent curb in melodrama in many years though is a shade over-the-top during the end and Kate Winslet never mislead her devotees albeit being self-conscious in sundry scenes, Christoph Waltz fiendishly holds his introvert nature all the time while being socially authentic; arguably the weakest line, john C. Reilly is in his comfort zone to liberate the venom under his goody-goody disguise.
One big plus is the film ends ideally when the fray starts to become stale, so Polanski is still as crafty as any filmmakers could ever wish for.
The disintegration of these two pairs of parents is intrigued bit by bit with derision, insult and disdain, the initial wrangle of two flatly unfamiliar couples are reflecting everyone's customary procedure of dealing with strangers, the approach of eclipsing others in a restrained manner in order not to break a fragile bottom line "our face of respect", and once Nancy (Kate Winslet's character) has lost her face with a hilarious vomit to all the civil pretentiousness, the battle of matrimony, sex, social supremacy and civil wit is officially instigated, the carnage of verbal assaults prevails and within a compact 80 minutes, the dialogues are drolly sharp and incisive, wounds are acute without bleeding,
The grand cast is beyond any accomplishment, Jodie Foster manifests her excellent curb in melodrama in many years though is a shade over-the-top during the end and Kate Winslet never mislead her devotees albeit being self-conscious in sundry scenes, Christoph Waltz fiendishly holds his introvert nature all the time while being socially authentic; arguably the weakest line, john C. Reilly is in his comfort zone to liberate the venom under his goody-goody disguise.
One big plus is the film ends ideally when the fray starts to become stale, so Polanski is still as crafty as any filmmakers could ever wish for.
Would love to see this on stage!
soranamicooper3 September 2016
A one-act play, centring on two sets of parents in a Brooklyn apartment discussing a violent episode between their children, sandwiched between a very short, speech-free prologue and epilogue as credits roll. The ostensibly liberal but clearly uptight mother and apparently more conciliatory but hen-pecked father of the victim invite the aggressor's parents (she overtly more community-spirited, he more put out as he manages a work crisis on his mobile) over to talk about the incident, as responsible adults, but the ensuing clash of attitudes prompts a descent into the sort of puerile behaviour that was precisely the intended subject of the conversation.
Well cast, the four players interpret the sharp, witty lines with aplomb, one's sympathies leaping around from character to character as they gradually unravel, but without ever settling anywhere for long as each in turn cedes any moral high ground as quickly as they gained it. There is scorn aplenty (subtle and blatant) as rivalries and alliances are repeatedly struck and dashed. One can forgive the improbability of the meeting surviving several junctures when it would more naturally end because the dialogue continues to give.
I guess you can't go far wrong with such a script in the hands of this director and group of actors and it makes for a very watchable film, although I'm guessing the stage is its real home and I'll look out for it there.
Well cast, the four players interpret the sharp, witty lines with aplomb, one's sympathies leaping around from character to character as they gradually unravel, but without ever settling anywhere for long as each in turn cedes any moral high ground as quickly as they gained it. There is scorn aplenty (subtle and blatant) as rivalries and alliances are repeatedly struck and dashed. One can forgive the improbability of the meeting surviving several junctures when it would more naturally end because the dialogue continues to give.
I guess you can't go far wrong with such a script in the hands of this director and group of actors and it makes for a very watchable film, although I'm guessing the stage is its real home and I'll look out for it there.
Carnage
jboothmillard17 February 2013
Warning: Spoilers
I have seen some great films based on plays set in one location, Sleuth is one of the best examples, and a few one location films work really well also, such as Clerks, Rear Window and 12 Angry Men, so when I heard about this film based on a play I was very interested to watch it, from director Roman Polanski (Repulsion, Rosemary's Baby, Chinatown, The Pianist). Basically in the park two grade-school boys got into a fight, and one of the boys hit the other one with a stick in the mouth, and the parents of both children have decided to meet in a Brooklyn apartment to discuss the matter. The parents of the boy who wielded the stick are neurotic investment broker Nancy Cowan (Golden Globe nominated Kate Winslet) and her ignorant high-flying corporate lawyer husband Alan (Christoph Waltz), coming to the home of the parents of the boy who was struck, politically correct campaigner Penelope 'Penny' Longstreet (Golden Globe nominated Jodie Foster) and her goofy wholesaler of sanitary goods husband Michael (John C. Reilly). They intend that the meeting between them will be short, but various circumstances cause them to talk and stay longer as their conversation draws out, it starts with the couples get along fine, but then certain comments are said that have their feelings being hurt, causing the arguments between each other. There is also a point where Nancy is drinking the alcohol and eating the food they have, and she becomes sick and vomits on some books and Alan's trousers, so Penny and Michael have to clean it up and this continues the tension. They are not just about themselves but their responsibilities for the boys and their parenting skills, there is a discussion of Michael killing a pet hamster and he is accused of being a murderer, Penny gets emotional about it and this becomes an argument as well. Nancy gets irritated by Alan constantly answering the phone for his business, eventually grabbing his phone and dropping it in the flower vase with water, which makes the Longstreets laugh, and she gets annoyed by them being impartial. Getting drunk Nancy reveals her true colours on the situation, vulgarly stating that she is glad her and Alan's son hit Penny and Michael's son, they argue more and repeat that they are not getting anywhere, the bickering continues at points they claim to be leaving, and in the end, away from the Longstreets' and Cowans', their sons are seen reconciling their differences between them. With it just being the four actors in one place you wonder whether you will get bored, but you absolutely do not, Winslet is wonderfully fiery when she wants to be, Foster is terrifically aggressive most of the time, Waltz is laughably laid back and uninterested apart from his business, and Reilly is amusingly slow witted at times but stands his ground. The film works because of the stars being so suited to their parts, the script is so slick, cynical and witty, the events in between the arguing are hilarious, the pacing and editing is well put together by director Polanski, a fantastically funny comedy drama. Very good!
Penelope & Michael & Alan & Nancy
moonspinner5527 November 2015
Having arranged a meeting at their New York apartment, a married couple, whose son was smacked in the face with a stick by another boy in the park, attempts to clarify the situation with the other child's parents, who initially agree their son was at fault but soon begin to argue the point--all relevant (and irrelevant) points, in fact. Director Roman Polanski co-adapted this 'savage comedy' from Yasmina Reza's French play "Le Dieu du carnage" (God of Carnage), yet the material does not lend itself easily to the cinema. It's a character piece in much the same way "Who's Afraid of Virginia Woolf?" was a character piece; however, "Virginia Woolf" (as a play and as a film) had at least two compelling characters to lead us through the dramatic wreckage. "Carnage" is about four adults acting like the very same 11-year-olds they're squabbling about, and there's nothing terribly interesting in grown ups engaging in immature mudslinging. Jodie Foster's Penelope, passive-aggressive in her jabs and asides, is probably the least convincing character of the group, with Kate Winslet's put-upon Nancy rating a close second. The two men, John C. Reilly as Michael and Christoph Waltz as Alan, fare a bit better than the ladies; however, once we get Polanski's point--that each one of the characters will, in turn, attempt to devour the others--it's just a matter of time before Michael and Alan become equally ridiculous in their petty arguments. An unpleasant film, but for cinephiles a definite curiosity item because of Polanski's involvement with this talented group. Still, it's no star vehicle; nobody comes out of "Carnage" looking good. **1/2 from ****
Morally you're supposed to overcome your impulses, but there are times you don't want to overcome them.
hitchcockthelegend1 July 2012
Carnage is directed by Roman Polanski who co-adapts the screenplay with Yasmina Reza from the latter's own play God of Carnage. It stars Jodie Foster, Kate Winslet, John C. Reilly and Christopher Waltz. Music is by Alexandre Desplat and cinematography by Pawel Edelman.
After their sons are involved in a fight, a quartet of parents meet up in one of their apartments to discuss the problem......
It's practically a one set location with just four speaking characters, runs for just under 80 minutes and is undoubtedly stagy. But Polanski's movie is an actors dream, four actors revelling in the mischievous thematics of the story, feeding off one and other in a whirl of neurosis, ignorance, bitterness, mobile abuse and vomiting. Plonked into a cramped middle class New York apartment, brilliantly created by Dean Tavoularis on a Paris sound stage! The four "adults" trade emotional blows, venom surfaces and the trick in the tale is not confining it to purely that of the opposites. Over parenting? Interesting. It could perhaps have been even more barbed than it is, and even another ten minutes wouldn't have gone amiss. But in an age of cinema where much is given to overkill and computer dalliances, it's refreshing to see a simple yet spiky story played out by excellent actors, and filmed so fluently on one set by a talented director. 8/10
After their sons are involved in a fight, a quartet of parents meet up in one of their apartments to discuss the problem......
It's practically a one set location with just four speaking characters, runs for just under 80 minutes and is undoubtedly stagy. But Polanski's movie is an actors dream, four actors revelling in the mischievous thematics of the story, feeding off one and other in a whirl of neurosis, ignorance, bitterness, mobile abuse and vomiting. Plonked into a cramped middle class New York apartment, brilliantly created by Dean Tavoularis on a Paris sound stage! The four "adults" trade emotional blows, venom surfaces and the trick in the tale is not confining it to purely that of the opposites. Over parenting? Interesting. It could perhaps have been even more barbed than it is, and even another ten minutes wouldn't have gone amiss. But in an age of cinema where much is given to overkill and computer dalliances, it's refreshing to see a simple yet spiky story played out by excellent actors, and filmed so fluently on one set by a talented director. 8/10
Yet another great film about argument!
Hellmant29 February 2012
'CARNAGE': Four Stars (Out of Five) Roman Polanski adapts the popular French play 'God of Carnage', by Yasmina Reza, in to this dark comedy about argument. The film tells the story of two sets of parents trying to 'heal' a conflict started by their kids. It stars Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly. The entire film is set in real time in one Brooklyn apartment (although filmed in Paris due to director Polanski being a wanted fugitive in the US). Reza co-wrote the screenplay with Polanski and it's about as clever and witty as any film I've seen this year, while still remaining mostly believable! The film revolves around a fight that breaks out between two eleven year old classmates in Brooklyn Bridge Park when one boy refuses to let the other in his gang and calls him a tattle-tail. One boy is struck by the other with a stick and is hurt badly in the mouth, requiring some dental work. The parents of each boy decide to meet in one couple's Brooklyn apartment in order to discuss the fight and try to resolve the conflict between the two boys. The rest of the film (almost it's entirety) plays out in the apartment with the parents discussing their boys' conflict rather aggressively which results in a much bigger conflict between them. Like the recent Iranian film 'A SEPARATION' this is a beautiful and believable film about argument. Of course this is a much more comedic and somewhat lighthearted look at argument than the award winning foreign language film but it's just as realistic and drives home it's point just as clearly. The acting is all top notch with Foster playing against type as the most unlikeable character of the bunch and Waltz impressing yet again by delivering my favorite performance of the film. The dialogue is very smart and funny and the directing is perfectly subtle. Like I said not as hard-hitting as the Iranian masterpiece but nearly as effective in it's own way. A very relatable and enlightening film; one not to be missed!
The carnage left over after a verbal battle of wits
napierslogs11 February 2012
"Carnage" is about the carnage that is left over as two couples get together to discuss their sons' recent altercation. It's a play. Not just based on a play, but I'm pretty sure it is the play, word-for-word, scene-for-scene. But make that just one scene. One room, one afternoon, four characters. What makes it even more unique, is that it's a comedy. I don't think I've ever seen a comedy this simplistic in its setting.
Jodie Foster plays Penelope, she's the passive-aggressive wife and mother; her husband is played John C. Reilly and he just wants to make nice; their son was the victim. Kate Winslet's Nancy also just wants to make nice; her husband is played by Christoph Waltz and he's the aggressive-aggressive one; their son was the abuser.
I know what you're thinking. Is it really that easy to declare one 11 year-old boy the victim and the other the abuser? Aren't they both somewhat to blame for whatever occurred? Well, you try telling that to Foster's Penelope. After the 1 hour and 20 minute straight verbal battle, I am staying clear.
"Carnage" is funny because we know what each character is really thinking under their sincere, or false-sincere, passive cover. Eventually, once a bottle of scotch gets consumed, they admit to their feelings, and surprisingly, it still remains funny. That is where the brilliance of the writing comes in. You could apply the old adage, "it's funny because it's true." But there is something to these movies about the real human and family relations accurately displayed beneath a comedy banner.
Being a comedy, "Carnage" fared well enough getting Golden Globe nominations, but I am a little miffed at the lack of screenplay nominations. Then again, that's what happens when it is written and directed by Roman Polanski. I don't blame Hollywood for not always wanting to award him. If you don't want to reward him either, then find the play version of "Carnage". I'm sure it's just as good.
Jodie Foster plays Penelope, she's the passive-aggressive wife and mother; her husband is played John C. Reilly and he just wants to make nice; their son was the victim. Kate Winslet's Nancy also just wants to make nice; her husband is played by Christoph Waltz and he's the aggressive-aggressive one; their son was the abuser.
I know what you're thinking. Is it really that easy to declare one 11 year-old boy the victim and the other the abuser? Aren't they both somewhat to blame for whatever occurred? Well, you try telling that to Foster's Penelope. After the 1 hour and 20 minute straight verbal battle, I am staying clear.
"Carnage" is funny because we know what each character is really thinking under their sincere, or false-sincere, passive cover. Eventually, once a bottle of scotch gets consumed, they admit to their feelings, and surprisingly, it still remains funny. That is where the brilliance of the writing comes in. You could apply the old adage, "it's funny because it's true." But there is something to these movies about the real human and family relations accurately displayed beneath a comedy banner.
Being a comedy, "Carnage" fared well enough getting Golden Globe nominations, but I am a little miffed at the lack of screenplay nominations. Then again, that's what happens when it is written and directed by Roman Polanski. I don't blame Hollywood for not always wanting to award him. If you don't want to reward him either, then find the play version of "Carnage". I'm sure it's just as good.
An Underrated Gem That's Delightful, Delicious & Devilish In Equal Doses
CinemaClown20 September 2016
From the director of Rosemary's Baby, Chinatown & The Pianist, Carnage is a simple, small scale & lighthearted black comedy that stacks four interesting characters inside a single location and, with the help of its sharp wit & committed cast, demonstrates the entire futility of the situation where parents try to settle their children's fight by themselves.
The story of Carnage follows two pairs of parents who, following an incident involving their sons, decide to meet each other and discuss the matter in a civilized manner. Friendly & cordial at first, their discussion soon dives into endless snarks, squabbles & disagreements and as the day progresses, the issues of their personal lives eventually make it to the surface.
Co-written & directed by Roman Polanski, the film is in perpetual motion throughout its 80 minutes runtime even when it is taking a breather, for the jibes just keep coming from one end or another. It does help to have well-rounded characters that are dysfunctional in their own ways and it certainly makes for one compelling drama when the whole charade comes crashing down.
Except for the bookended scenes, the entire plot unfolds inside a single apartment, and this minimal setting compels the viewers to keep their attention on its characters. Its sardonic wit & piercing dialogues never run out of fuel. Camera is employed like a silent observer that's solely focused on the biting conversations between two parties, and Editing provides a tightly-knitted structure to its 80 minutes narrative.
Coming to the performances, Carnage features an outstanding cast in Kate Winslet, Jodie Foster, Christoph Waltz & John C. Reilly, and all four of them are absolutely fantastic in their given roles. The tirade between Winslet & Foster, in particular, is a highlight to watch while the two men really try to keep their distance from the pointless argument until dragged into the mess by their respective missus.
On an overall scale, Carnage is a delightful, delicious & devilish little comedy that's skilfully crafted & splendidly performed and delivers an extravaganza that's funny, smart & engaging from start to finish. Most may not rank it amongst the best films of Polanski's decades-spanning career but in my opinion, it is an underrated gem that deserves a higher place in his filmography. Wild, hilarious & entertaining, this comedy of no manners is absolutely worth a shot.
The story of Carnage follows two pairs of parents who, following an incident involving their sons, decide to meet each other and discuss the matter in a civilized manner. Friendly & cordial at first, their discussion soon dives into endless snarks, squabbles & disagreements and as the day progresses, the issues of their personal lives eventually make it to the surface.
Co-written & directed by Roman Polanski, the film is in perpetual motion throughout its 80 minutes runtime even when it is taking a breather, for the jibes just keep coming from one end or another. It does help to have well-rounded characters that are dysfunctional in their own ways and it certainly makes for one compelling drama when the whole charade comes crashing down.
Except for the bookended scenes, the entire plot unfolds inside a single apartment, and this minimal setting compels the viewers to keep their attention on its characters. Its sardonic wit & piercing dialogues never run out of fuel. Camera is employed like a silent observer that's solely focused on the biting conversations between two parties, and Editing provides a tightly-knitted structure to its 80 minutes narrative.
Coming to the performances, Carnage features an outstanding cast in Kate Winslet, Jodie Foster, Christoph Waltz & John C. Reilly, and all four of them are absolutely fantastic in their given roles. The tirade between Winslet & Foster, in particular, is a highlight to watch while the two men really try to keep their distance from the pointless argument until dragged into the mess by their respective missus.
On an overall scale, Carnage is a delightful, delicious & devilish little comedy that's skilfully crafted & splendidly performed and delivers an extravaganza that's funny, smart & engaging from start to finish. Most may not rank it amongst the best films of Polanski's decades-spanning career but in my opinion, it is an underrated gem that deserves a higher place in his filmography. Wild, hilarious & entertaining, this comedy of no manners is absolutely worth a shot.
Hysterical Carnage of Parenthood. This no manners comedy movie was a good watch.
ironhorse_iv25 October 2014
Warning: Spoilers
This movie directed by Roman Polankski is really unique, as most of the film was shot in real time, without breaks and, with the exception of the park scenes, in a single location. It reminds me of previous one room stage plays works turn into feature films like Alfred Hitchcock's 1948 'Rope', Sidney Lumet's 1957's 12 Angry Men or 1966's 'Who's Afraid of Virginia Woolf' by Mike Nichols. I love how the movie is shot in one location. It's does give that small time playwright play feel as if the viewer is an audience member in a silence sitcom watching these events unfold in front of them. The movie tells the story of two boy's parents meeting in Brooklyn apartment to discuss the matter of their children getting into a fight in the park that results in one boy, hitting the other, in the face with a stick. Alan (Christoph Waltz) and Nancy Cowan (Kate Winslet), visit the home of Michael (John C. Reilly) and Penelope Longstreet (Jodie Foster), to talk about the issue, only to find out that their intended short meeting became drawn out longer due to various circumstances. They soon overstay their welcome, and the peaceful conversation turn ugly; as the two sets of families continue to try to get the upper hand over the other family in verbal battle of wits over issues ranging from dead hamsters, cell phone use, to prescribed drugs. Sooner than later both sets of parents find themselves at each other throats. The movie is surgically exposing the true layers of social convention with dry wit mean-spirited humor. While, some people might find this annoying or unlikeable to listen to. I found myself, very interested in what was being said. I also found myself, laughing at times at the smart humor. It's definitely not everyone's cup of tea but if you enjoy subtle, refined humor it is well worth your time to give it a watch. Other humor like the vomit gag kinda turn me off from the film. I have to say, the humor is well-rounded. All of the actors did their parts, very well. John C. Reilly really comes across as the well mattered laid back Average Joe whom would simply appreciate an apology from their child and quickly forget about it. Jodie Foster really knows how to act like an arrogance stuck up author with a pushy agenda. She never seems to want to shut her mouth against people, she secretly despise. She has this unpleasantly overbearing preachy attitude that you can help, not hating. Christoph Waltz indeed waltz into the right role as the aloof over busy brutality honest Pharmaceutical spin doctor businessman. It was funny, how often, he had to pick up his cell phone for a call. Kate Winslet is truly amazing as the over emotional bi polar train wreck who find herself, going to extremes in both in mania and her lows. The movie is well written, and very faithful to the Tony Award winning play God of Carnage by French playwright Yasmina Reza. Although set in Brooklyn, New York, the film was shot in Paris, because of Polanski's fugitive status. You really couldn't tell the different, since most of the film was indoors. The opening and closing scenes, ostensibly filmed in Brooklyn Bridge Park, were shot by a second unit. The movie is well shot and shows why Roman Polanski is a good director. A lot of critics might hate this film, due to the fact, that Polanski is a controversial figure. In 1977, after a photo shoot in Los Angeles, Polanski was arrested for the rape of a 13-year-old girl and pleaded guilty to the charge of unlawful sex with a minor. To avoid sentencing, Polanski fled to his home in London, eventually settling in France. I have to say, while I'm not a huge fan of Polanski, the person, I do praise his works as director. He has a secret cameo in the film that worth checking out. Overall: I believe in the god of carnage. The god whose rule's been unchallenged since time immemorial. This movie showcase their power and it works as a pretty good comedy. What are you still doing here? Go home and watch the film. It's that good.
The uncomfortable first half leads to a rewarding second half....
mojojones7724 January 2012
By Maurice Jones
Roman Polanski's 'Carnage' starring Jodie Foster, John C. Reilly, Kate Winslet and Christoph Waltz main seem like an unbalanced superficial casting to some for a low-key movie such as this, but what at first is expectedly unfit and useless is later realized and understood.
From the opening of the film Roman Polanski uses the same intensity of 50's-60's suspense film openings such as 'Compulsion' to distract you from what is happening behind the credits to then lead you to the purpose of the film to the then the plot. The back drop of the credits is filmed and placed in a way that looks especially 70's, which entirely gives a delightfully and brilliantly vintage opening of a treat, as something like this is unfortunately rarely seen in a dramedy as this. A starting such as this lets you know that you're in for the creative dramatically playful telling of Mr. Roman Polanski.
The first few lines of the movie give way to the two head strong characters of the movie who battle it out later on, but before then the movie centers on the societal dealing with a schoolyard attack on the son of a seemingly liberal couple; Penelope and Michael (played by Jodie Foster and John C. Reilly) by the son of a seemingly conservative couple; Nancy and Allen (played by Kate Winslet and Christoph Waltz). Penelope is an opinionated, passionate writer who leads the reasoning of the incident. Michael is a friendly yet choosy salesman who tries to make light of the whole situation. Nancy is a pseudo-conservative who like Michael tries to keep the whole situation without argument and Allen is a sly yet focused attorney who would rather be working then deal with the incident as long as the whole thing is dealt with fairly. The first half of the movie displays the tight-rope courtesy of the two couples dealing with this unfortunate situation in Penelope and Michael's New York apartment, as little by little the faults of each parent comes out but is especially looked over for the sake of good re pore, which makes for a realistic look out on the stubborn idiosyncrasies of parents in general. As what one would consider to be poorly written, boring, typical or an off-putting part of the film is really a clever set up of what's to come as the first half realistically exports the pointlessness and exhaustiveness of how this situation is handled. As things seep towards the second half of the film the characters become less and less censored and open to be their real selves in the confinement of Penelope and Michael's apartment which leads to the rewarding and interesting part of the film. Nancy and Michael are the soft, mending parts of their relationships but turn out to be more disturbed and Penelope and Allen are the leaders and rightfully duke it out. As the conservative couple Nancy and Allen are nothing without their accessories and as the liberal couple Penelope and Michael just want to be heard and taken seriously.
What's great technically about 'Carnage' is Roman Polanski's eye and directing as he is aware of the subtleties and exaggerations of film and why they can go hand in hand. With that Kate Winslet is great at acting guarded and then letting her guard down and Jodie Foster pushes herself to points that seem brilliantly worrying (she should probably get an Oscar nom). John C. Reilly naturally does great playing the friendly, caring Michael who as much as he is that, he's as well careless and Christoph Waltz plays his usual cocky self who has an answer to everything, which is accurate as the fierce attorney he portrays.
Also written by Roman Polanski 'Carnage' has a lot of insight biased or not about men and women and society which makes it importantly realistic and in part shows view of the accurate thoughts of Roman Polanski. If you're into or not into films about four people dealing with each other in one location, check out 'Carnage' and if not for Roman Polanski, see it for the rare useful form of the actors involved. I started out not sure whether I was going to like 'Carnage' or not but towards the end I saw the big picture and in that my only regret is, that when it ended I wanted more time with these four people.
Roman Polanski's 'Carnage' starring Jodie Foster, John C. Reilly, Kate Winslet and Christoph Waltz main seem like an unbalanced superficial casting to some for a low-key movie such as this, but what at first is expectedly unfit and useless is later realized and understood.
From the opening of the film Roman Polanski uses the same intensity of 50's-60's suspense film openings such as 'Compulsion' to distract you from what is happening behind the credits to then lead you to the purpose of the film to the then the plot. The back drop of the credits is filmed and placed in a way that looks especially 70's, which entirely gives a delightfully and brilliantly vintage opening of a treat, as something like this is unfortunately rarely seen in a dramedy as this. A starting such as this lets you know that you're in for the creative dramatically playful telling of Mr. Roman Polanski.
The first few lines of the movie give way to the two head strong characters of the movie who battle it out later on, but before then the movie centers on the societal dealing with a schoolyard attack on the son of a seemingly liberal couple; Penelope and Michael (played by Jodie Foster and John C. Reilly) by the son of a seemingly conservative couple; Nancy and Allen (played by Kate Winslet and Christoph Waltz). Penelope is an opinionated, passionate writer who leads the reasoning of the incident. Michael is a friendly yet choosy salesman who tries to make light of the whole situation. Nancy is a pseudo-conservative who like Michael tries to keep the whole situation without argument and Allen is a sly yet focused attorney who would rather be working then deal with the incident as long as the whole thing is dealt with fairly. The first half of the movie displays the tight-rope courtesy of the two couples dealing with this unfortunate situation in Penelope and Michael's New York apartment, as little by little the faults of each parent comes out but is especially looked over for the sake of good re pore, which makes for a realistic look out on the stubborn idiosyncrasies of parents in general. As what one would consider to be poorly written, boring, typical or an off-putting part of the film is really a clever set up of what's to come as the first half realistically exports the pointlessness and exhaustiveness of how this situation is handled. As things seep towards the second half of the film the characters become less and less censored and open to be their real selves in the confinement of Penelope and Michael's apartment which leads to the rewarding and interesting part of the film. Nancy and Michael are the soft, mending parts of their relationships but turn out to be more disturbed and Penelope and Allen are the leaders and rightfully duke it out. As the conservative couple Nancy and Allen are nothing without their accessories and as the liberal couple Penelope and Michael just want to be heard and taken seriously.
What's great technically about 'Carnage' is Roman Polanski's eye and directing as he is aware of the subtleties and exaggerations of film and why they can go hand in hand. With that Kate Winslet is great at acting guarded and then letting her guard down and Jodie Foster pushes herself to points that seem brilliantly worrying (she should probably get an Oscar nom). John C. Reilly naturally does great playing the friendly, caring Michael who as much as he is that, he's as well careless and Christoph Waltz plays his usual cocky self who has an answer to everything, which is accurate as the fierce attorney he portrays.
Also written by Roman Polanski 'Carnage' has a lot of insight biased or not about men and women and society which makes it importantly realistic and in part shows view of the accurate thoughts of Roman Polanski. If you're into or not into films about four people dealing with each other in one location, check out 'Carnage' and if not for Roman Polanski, see it for the rare useful form of the actors involved. I started out not sure whether I was going to like 'Carnage' or not but towards the end I saw the big picture and in that my only regret is, that when it ended I wanted more time with these four people.
A masterclass
neil-47630 November 2013
Warning: Spoilers
Two couples meet at the apartment of one of the couples to discuss, in a calm and civilised manner, the consequences of the son of one couple attacking the son of the other couple. The calm, civilised discussion does not continue in that manner.
Two days ago, I sat through The Family, an alleged black comedy which was distinguished by not being even slightly funny. Then tonight Carnage was on TV, a masterclass by Roman Polanski in how to make a black comedy. All four actors (Jodie Foster and John C Reilly as one couple and Kate Winslet and Christoph Waltz as the other) are playing at the tops of their games with a wickedly sharp script which displays clearly (and hilariously) all the little foibles, hypocrisies, self-righteousnesses, prejudices and quirks which lie such a short distance beneath the seemingly civilised surface. All four play it completely straight - it would not work otherwise - and I think I have to award the victory (on points) to Jodie Foster, whose descent from urbanity into completely losing it is most marked (and funniest).
This was an excellent film adaptation of a play.
Two days ago, I sat through The Family, an alleged black comedy which was distinguished by not being even slightly funny. Then tonight Carnage was on TV, a masterclass by Roman Polanski in how to make a black comedy. All four actors (Jodie Foster and John C Reilly as one couple and Kate Winslet and Christoph Waltz as the other) are playing at the tops of their games with a wickedly sharp script which displays clearly (and hilariously) all the little foibles, hypocrisies, self-righteousnesses, prejudices and quirks which lie such a short distance beneath the seemingly civilised surface. All four play it completely straight - it would not work otherwise - and I think I have to award the victory (on points) to Jodie Foster, whose descent from urbanity into completely losing it is most marked (and funniest).
This was an excellent film adaptation of a play.
Parents, Sons and a Hamster
claudio_carvalho5 November 2012
The investment broker Nancy Cowan (Kate Winslet) and her husband, the lawyer Alan Cowan (Christoph Waltz) visit the aspirant writer Penelope Longstreet (Jodie Foster) and her husband, the salesman Michael Longstreet (John C. Reilly) in Brooklyn, New York, to amicably discuss the incident between their eleven year-old sons. Zachary Cowan (Elvis Polanski) hit his classmate Ethan Longstreet (Eliot Berger) on the face with a bat in a Brooklyn Park and the injured Ethan will probably miss two teeth.
Nancy is a stressed woman; Alan is an annoying workaholic that is more interested in taking work calls using his new cell phone; Penelope is researching Africa and was the mentor of the meeting, based on her idealistic sense of justice; and Michael tries to accommodate the situation. Along the discussion, they eat a cake and drink whiskey, and change their civilized behavior, revealing their real feelings about the situation in a clash of egos and war of the sexes.
"Carnage" is a theatrical dark comedy by Roman Polanski about the relationships of parents, sons and a hamster. The cast could not be better and the ironic conclusion shows that in fight of sons, parents should never interfere unless requested. My vote is six.
Title (Brazil): "Deus da Carnificina" ("God of the Carnage")
Note: On 12 Oct 2020, I saw this film again.
Nancy is a stressed woman; Alan is an annoying workaholic that is more interested in taking work calls using his new cell phone; Penelope is researching Africa and was the mentor of the meeting, based on her idealistic sense of justice; and Michael tries to accommodate the situation. Along the discussion, they eat a cake and drink whiskey, and change their civilized behavior, revealing their real feelings about the situation in a clash of egos and war of the sexes.
"Carnage" is a theatrical dark comedy by Roman Polanski about the relationships of parents, sons and a hamster. The cast could not be better and the ironic conclusion shows that in fight of sons, parents should never interfere unless requested. My vote is six.
Title (Brazil): "Deus da Carnificina" ("God of the Carnage")
Note: On 12 Oct 2020, I saw this film again.
Old fashioned movie making
toddatthemovies9 January 2012
I would like to start off my review with a little back story. I was off from work on a beautiful Southern California day and just watched Woody Allen's Manhattan Murder Mystery last night so this was a nice complimentary movie.
The basic premise of the movie is the interactions of two sets of parents who are getting together for the sole purpose of an altercation between their children. Jodie Foster and John C. Reilly are the parents of the injured child (Ethan). Kate Winslet and Christopher Waltz are the parents of the boy that hit Ethan (Zachery). The movie starts and ends in the confines of the Longstreet's apartment (Reilly & Foster). What ensues is the breakdown of civility between the two parties.
I really enjoyed the movie, especially as it was the right movie for my mood, but also because the casting was great, dialogue was sharp and as usual the directing was spot on. I went in expecting Reilly to be miscast, but he not only held his own but had some real moments. Foster is easy to hate and the one I think an award nomination is due. Winslet had a great metamorphosis as too chic investment banker. Waltz was maybe not fleshed out as much, but easily the most enjoyable. All things considered it was a Thoroughly enjoyable movie.
There is very little not to like but taken in the essence of an old fashioned ensemble And that it's wrapped up nicely with a bow, not many loose ends, it's a great 80 minute Escape from the HD life we live.
The basic premise of the movie is the interactions of two sets of parents who are getting together for the sole purpose of an altercation between their children. Jodie Foster and John C. Reilly are the parents of the injured child (Ethan). Kate Winslet and Christopher Waltz are the parents of the boy that hit Ethan (Zachery). The movie starts and ends in the confines of the Longstreet's apartment (Reilly & Foster). What ensues is the breakdown of civility between the two parties.
I really enjoyed the movie, especially as it was the right movie for my mood, but also because the casting was great, dialogue was sharp and as usual the directing was spot on. I went in expecting Reilly to be miscast, but he not only held his own but had some real moments. Foster is easy to hate and the one I think an award nomination is due. Winslet had a great metamorphosis as too chic investment banker. Waltz was maybe not fleshed out as much, but easily the most enjoyable. All things considered it was a Thoroughly enjoyable movie.
There is very little not to like but taken in the essence of an old fashioned ensemble And that it's wrapped up nicely with a bow, not many loose ends, it's a great 80 minute Escape from the HD life we live.
The Best One-Hour Conversation Ever! Ever!
nairtejas5 December 2012
Roman Polanski, hands down is back with another perfect drama film. Drama? No, this is black comedy. Perfect comedy for a movieholic!
Where Jodie Foster's amazing acting and Christoph Waltz's witty dialogs are the center of this movie, you better watch out for Kate & Reilly! I mean it is the perfect cast and the setup is truly marvelous!
Screenplay is little bitter and the plot goes haywire at the end, but what I loved about this movie are the dialogs! Amazing! Simply amazing!
You gotta watch it for the cast and the conversation which has a deep meaning going back to Africa, John Wayne and likes.
Go for it! You will not be disappointed!
Can it be watched with a general-class Indian family? YES!
For more - bit.ly/TEJAS
Where Jodie Foster's amazing acting and Christoph Waltz's witty dialogs are the center of this movie, you better watch out for Kate & Reilly! I mean it is the perfect cast and the setup is truly marvelous!
Screenplay is little bitter and the plot goes haywire at the end, but what I loved about this movie are the dialogs! Amazing! Simply amazing!
You gotta watch it for the cast and the conversation which has a deep meaning going back to Africa, John Wayne and likes.
Go for it! You will not be disappointed!
Can it be watched with a general-class Indian family? YES!
For more - bit.ly/TEJAS
Is It Over Yet?
Cinnyaste22 December 2011
Warning: Spoilers
"Carnage," an ultra-black comedy, drips vitriol from every frame as four adults trapped in a well appointed apartment/cage devolve into nasty kids. In the end, "Carnage" has all the appeal of a mean-spirited, seventy-six minute fight with a spouse or significant other.
It's postulated language was invented to hide, not communicate, what people think. "Carnage" is the proof.
"Carnage" is nothing without the players. In a high-wattage cast Foster shines brightest. Playing an alcoholic, neurotic, wrapped-way-too-tight writer of books no one wants to read about political situations no one cares about, there's tension in every muscle, every clipped word. Waltz, an unctuous Pharmaceutical Spin Doctor, stands out as well: self satisfied smirk on face with barely concealed contempt in eyes.
Reilly is, well, the serviceable, limited range Reilly we've come to expect. He plays the passive/aggressive, people pleasing Teddy Bear/Mook well, but here, as a Hardware Store Owner, he simply hits marks, delivers lines. As an Investment Banker, the usually terrific Kate Winslet is only shrill in a phoned in performance. (Though she should receive an Oscar nomination for 'Best Projectile Vomit By An A-Lister'.)
The Players aside, "Carnage" wears additional holes in an old, old carpet. With nothing new or fresh to add about the human condition, marriage, relationships or parenting, there only remains a dreary afternoon spent with four clueless idiots with nary a whit of self knowledge. There's no caring about these adult-children, and less interest in the drivel they spit like venom.
Unfortunately, too, the potency of Political allegory is untapped. There's only allusion to the dichotomies between activist/lobbyist, regular guy/elite, Wall Street/Main Street. Even the eye-to-eye Alpha Male stare down between Reilly and Waltz is risible.
The film's central conflict centers on a violent episode between the parent's children. The film opens with the incident and ends with the two boys as friends. (Given their dysfunctional, near abusive environments, it's surprising the kids didn't wield Mac 10s.) This is the sole message in a truly disappointing film - a son does not have to bear the sins of the Father (or Mother). Stop The Presses!!!
On a practical level, the plot devices used to keep the Waltz/Winslets from spiriting away from the conflict on the elevator are beyond logic and believability.
Toothless and a bore, "Carnage" is a star-powered flop that had this reviewer checking the time every five minutes. And showering after.
It's postulated language was invented to hide, not communicate, what people think. "Carnage" is the proof.
"Carnage" is nothing without the players. In a high-wattage cast Foster shines brightest. Playing an alcoholic, neurotic, wrapped-way-too-tight writer of books no one wants to read about political situations no one cares about, there's tension in every muscle, every clipped word. Waltz, an unctuous Pharmaceutical Spin Doctor, stands out as well: self satisfied smirk on face with barely concealed contempt in eyes.
Reilly is, well, the serviceable, limited range Reilly we've come to expect. He plays the passive/aggressive, people pleasing Teddy Bear/Mook well, but here, as a Hardware Store Owner, he simply hits marks, delivers lines. As an Investment Banker, the usually terrific Kate Winslet is only shrill in a phoned in performance. (Though she should receive an Oscar nomination for 'Best Projectile Vomit By An A-Lister'.)
The Players aside, "Carnage" wears additional holes in an old, old carpet. With nothing new or fresh to add about the human condition, marriage, relationships or parenting, there only remains a dreary afternoon spent with four clueless idiots with nary a whit of self knowledge. There's no caring about these adult-children, and less interest in the drivel they spit like venom.
Unfortunately, too, the potency of Political allegory is untapped. There's only allusion to the dichotomies between activist/lobbyist, regular guy/elite, Wall Street/Main Street. Even the eye-to-eye Alpha Male stare down between Reilly and Waltz is risible.
The film's central conflict centers on a violent episode between the parent's children. The film opens with the incident and ends with the two boys as friends. (Given their dysfunctional, near abusive environments, it's surprising the kids didn't wield Mac 10s.) This is the sole message in a truly disappointing film - a son does not have to bear the sins of the Father (or Mother). Stop The Presses!!!
On a practical level, the plot devices used to keep the Waltz/Winslets from spiriting away from the conflict on the elevator are beyond logic and believability.
Toothless and a bore, "Carnage" is a star-powered flop that had this reviewer checking the time every five minutes. And showering after.
Extraordinary
warthogjump30 December 2011
This is easily the funniest movie I have seen in a VERY long time. I can't remember the last time I laughed so much in a film. The chemistry between the four characters is phenomenal. I can say I have never seen four different actors interact in such a magnificently enjoying and satisfying manner. The dialogue, acting and adaption of character is truly superb. Each of the 4 actors give a powerhouse performance. I honestly could not have suggested a better cast for such a movie.
Each actor in this movie easily deserves an Oscar nomination, no doubt about it. However, John C Reilly went over and beyond. Although it would be unjust to the other actors to say that Reilly stole the show, he has clearly, in my opinion, created the most comedic, transforming and realistic character within the movie. Every one of the actors should get nominated for a remarkable performance, but I would give the Oscar to Reilly. He had me laughing the most and his explosion of character towards the end was utterly satisfying.
To sum up, If you don't usually laugh in ordinary "comedy" films, but love witty comedy developed from acting, script and circumstance alone, this is perfect.
Each actor in this movie easily deserves an Oscar nomination, no doubt about it. However, John C Reilly went over and beyond. Although it would be unjust to the other actors to say that Reilly stole the show, he has clearly, in my opinion, created the most comedic, transforming and realistic character within the movie. Every one of the actors should get nominated for a remarkable performance, but I would give the Oscar to Reilly. He had me laughing the most and his explosion of character towards the end was utterly satisfying.
To sum up, If you don't usually laugh in ordinary "comedy" films, but love witty comedy developed from acting, script and circumstance alone, this is perfect.
carnage is a real treat to watch....
majumdar-u5 March 2012
Carnage is a fantastic piece of art film where seemingly unimaginative plot of two pairs of parents hold a friendly meeting after their sons are involved in a fight, turns into a verbal brawl. It takes fantastic director like Roman Polanski to make this topic utterly engaging with oozing humor coming out from its protagonist. From the very start, film clears why the parents meet and what is their issue and superficially ties to rectify that but due to their first nature it crashes into a deep funny spectacle , this whole process of rectifying the situation till they become themselves villain is so funny and entertaining that u will not feel bored. four fantastic actors with their due screen space will make u laugh. roughly 79minutes it is a real fun. Watch for its fine situational dark humor and fine piece of acting.
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