Directed by:
David CronenbergScreenplay:
Josh OlsonCinematography:
Peter SuschitzkyComposer:
Howard ShoreCast:
Viggo Mortensen, Maria Bello, Ed Harris, William Hurt, Ashton Holmes, Peter MacNeill, Stephen McHattie, Greg Bryk, Kyle Schmid, Aidan Devine, Morgan Kelly (more)VOD (2)
Plots(1)
An average family is thrust into the spotlight after the father (Viggo Mortensen) commits a seemingly self-defense murder at his diner. (official distributor synopsis)
Videos (2)
Reviews (10)
This intimate thriller from the controversial Canadian maniac on the director's stool is one of the most enjoyable surprises of the year. After outings like Naked Lunch, I wouldn't expect such a masterpiece from David Cronenberg, with good craftsmanship but extraordinarily stylish filmmaking. Of course, I'm not pretending that I didn't follow his last steps, so A History of Violence seems like a real slap in the face out of nowhere. While this film cannot be put on a pedestal of exceptionalism, it is actually a very conservative thriller about a man who reacts unnaturally coldly in a dangerous situation and pulls off a merry-go-round of questions, exclamation marks and dark places that threaten his very identity. Tom Stall, played superbly by Jacksonian good boy Viggo Mortensen, is the driving force behind the film – an archetypal hero "with a question mark". This time, the cleverly seated narrator is not out of line with the standard, and is "only" well mastered in terms of craftsmanship and keeps the fundamental question of "who is the protagonist?" open enough. The family environment that Tom defends with all his might worked brilliantly, which Cronenberg portrays suspiciously harmoniously in the first part of the film. In addition to the great acting performances of the whole ensemble and the well-written script, it is worth mentioning Howard Shore's inconspicuous but sensitive soundtrack and, of course, the perfect direction, which does not show off in any way, but sensitively looks at the story, carefully draws the viewer into it and alternates with incredible ease the intimate plane with almost naturalistic brutality, in which Cronenberg can be recognized a mile away. There's no sign of self-purpose, pathos, heroism... the final duel with Cronenbergian eases into intimate tones the spectacular black-and-black action that Tarantino can only quietly envy in his older colleague... The end of the film takes place without words, only gestures, hints and sounds into the quiet like a cry to which the viewer has to answer for himself. Will Tom get another chance, or will his actions destroy him? If it weren't for the drawn-out details and the slight loss of gradation at the end, this would have been an almost flawless film. Even in this form, however, A History of Violence is a mature and inspiring example of a psychological thriller, which, while not arousing deep questioning about the meaning of being, nevertheless captivates, absorbs and entertains. Without giving in.
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A History of Violence is a great film that shows how Cronenberg has matured. He can create scenes that have such an incredible impact on you that you might have trouble believing it. The scene on the stairs, after the sheriff leaves, is absolutely incredible, as is the moment when the killer’s blood splatters on Mortensen after his teenage son saves his life. Cronenberg isn’t averse to naturalism; on the contrary, this, in my opinion, places him high among contemporary directors. Life just isn't pretty sometimes. Why keep filming it like a fairy tale?
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Cronenberg interestingly mixes various styles, with the "western" style being particularly notable. The simple and civilian story moves forward thanks to the strength of the performances and the interweaving of scenes, which, despite their genre differences, work together more than decently. Marital sex pushed to the edge of uninhibited soft porn raises the eyebrows of Puritan viewers at the very least, and the detailed camera work during headshots leaves even the toughest folks unsettled. Even though it's true that the shallowness of the screenplay in the second half could have been masked by a faster pace, it is ultimately compensated by a masterful ending in which Cronenberg clearly demonstrates his ability to manipulate the audience, even against their will.
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From a predictable intro scene to a skillfully calculated drama with perfect actors and an unrelenting atmosphere. The dark past must be shown in a way that keeps me interested in what comes next, but the script keeps throwing one twist after another at me. The plot revolves around a fearful son and, unfortunately, key twists that don't come until the last half hour. I had already known where Tom was meant to end up for a while, but it couldn't have been more obvious.
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David Cronenberg avoids family clichés and holds the reins of this essentially simple film firmly in his hands. His almost sick perversion of blood and brutality is clearly evident here, as you really don't see this kind of raw action in every other film, with detailed close-ups of a head being shot through or a broken face. Similarly, the disfigured Ed Harris will definitely not leave you unaffected. Surprisingly, Viggo Mortensen is quite credible and handles the action scenes brilliantly and convincingly. Maria Bello is also worth watching, though she doesn't surpass her role in ER. What I am unable to understand, though, is the Oscar nomination for William Hurt. Otherwise, it's basically the same Cronenberg, so different from the majority of others.
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