Bill Pullman is okay as Mike Max, a veteran Hollywood producer who's made his name with a succession of violent action pictures. One night, he is carjacked by two hoodlums, only to escape and spend time hiding out with the family of his Mexican gardener. He doesn't seem THAT interested in finding out what truly happened that night; meanwhile, the film also follows Ray Bering (Gabriel Byrne), a lonely man operating a high-tech surveillance project out of Griffith Park Observatory. A young detective called "Doc" (Loren Dean) tries to make sense out of the Mike Max disappearance.
The intentions of celebrated German director Wim Wenders are certainly good, as he and his screenwriter Nicholas Klein set out to examine, and ruminate over, the "psyche of Los Angeles". His desire was to paint a multi-faceted portrayal of a city beset by paranoia and violence, a city which fascinated him. Given that Wenders himself is not fond of the proliferation of violence in cinema, "The End of Violence" shows us very little. Unfortunately, this picture of his suffers from a slow pace and a sometimes meandering nature. It's really not that involving, with very few characters we can genuinely care about.
Among its assets are the widescreen photography (this was Wenders' first film shot in 2.35:1), and the excellent, flavourful soundtrack composed by guitar great Ry Cooder.
The wonderful assemblage of acting talent helps to maintain interest even when the story doesn't. Traci Lind is a standout as a lovely stuntwoman being groomed for a career in acting. Andie MacDowell is barely passable as Mike Max's neglected wife. A sombre-faced Byrne does get to share some scenes with the legendary filmmaker Sam Fuller, who plays his father. Sadly, Fuller would pass away shortly after production wrapped. Other familiar faces include Rosalind Chao, Pruitt Taylor Vince, John Diehl, Nicole Ari Parker, Daniel Benzali, Marshall Bell, Frederic Forrest, Udo Kier (a hoot, as always, as a film director), Henry Silva, Peter Horton, Michael Massee, and O-Lan Jones.
Ultimately, style triumphs over what little substance there is in this forgettable feature.
Six out of 10.
The intentions of celebrated German director Wim Wenders are certainly good, as he and his screenwriter Nicholas Klein set out to examine, and ruminate over, the "psyche of Los Angeles". His desire was to paint a multi-faceted portrayal of a city beset by paranoia and violence, a city which fascinated him. Given that Wenders himself is not fond of the proliferation of violence in cinema, "The End of Violence" shows us very little. Unfortunately, this picture of his suffers from a slow pace and a sometimes meandering nature. It's really not that involving, with very few characters we can genuinely care about.
Among its assets are the widescreen photography (this was Wenders' first film shot in 2.35:1), and the excellent, flavourful soundtrack composed by guitar great Ry Cooder.
The wonderful assemblage of acting talent helps to maintain interest even when the story doesn't. Traci Lind is a standout as a lovely stuntwoman being groomed for a career in acting. Andie MacDowell is barely passable as Mike Max's neglected wife. A sombre-faced Byrne does get to share some scenes with the legendary filmmaker Sam Fuller, who plays his father. Sadly, Fuller would pass away shortly after production wrapped. Other familiar faces include Rosalind Chao, Pruitt Taylor Vince, John Diehl, Nicole Ari Parker, Daniel Benzali, Marshall Bell, Frederic Forrest, Udo Kier (a hoot, as always, as a film director), Henry Silva, Peter Horton, Michael Massee, and O-Lan Jones.
Ultimately, style triumphs over what little substance there is in this forgettable feature.
Six out of 10.