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Georges and Anne are an octogenarian couple. They are cultivated, retired music teachers. Their daughter, also a musician, lives in Britain with her family. One day, Anne has a stroke, and the couple's bond of love is severely tested.
A young woman's quest for revenge against the people who kidnapped and tormented her as a child leads her and a friend, who is also a victim of child abuse, on a terrifying journey into a living hell of depravity.
A 14-year-old video enthusiast is so caught up in film fantasy that he can no longer relate to the real world, to such an extent that he commits murder and records an on-camera confession for his parents.
In this English-language remake of a deconstruction in the way violence is portrayed in the media, a family settles into its vacation home, which happens to be the next stop for a pair of young, articulate, white-gloved serial killers on an excursion through the neighborhood. Written by
Cameo: Susanne Haneke - The woman on the boat with Betsy, introduced as Betsy's sister in law, is played by the director Michael Hanneke's wife, Susanne. See more »
Throughout the movie Paul calls Peter "Tom", and Peter calls Paul "Jerry". These are references to the Tom & Jerry cartoons. They also refer to each other as 'Beavis' and 'Butthead', another cartoon reference. See more »
You must admit, you brought this on yourself.
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CARE SELVE, OMBRE BEATE
Written by George Frideric Handel (as G. F. Händel)
Performed by Beniamino Gigli
(P: 1950 EMI Records Ltd
digital remastering (P: 1999 EMI Records
Courtesy of EMI Music France See more »
The premise is not a thousand miles away from William Wyler's "Desperate Hours" but the distances here are measured in a different way. Michael Heneke the "author" of this horror thriller of sorts is at the service of his vision of himself. He's not the first "author" to suffer from the same malady but here it's so bloody obvious that becomes kind of funny. From the opening credits you know that "pretension" will permeate the whole movie and it does but, the funny thing is that it's riveting. I watched the whole nonsense with my mouth open. That's an achievement, isn't it? I haven't seen the original German version (a blow by blow account directed by Heneke himself)but, I must confess, I think I will, I think I want to. Don't ask me why. This is as empty as anything I've ever seen. A public act of obscenity and yet you can't, you just can't look away. Naomi Watts is terrific as the smart middle class wife and mother that will notice for first that Michael Pitt is not that good an actor. She sees through him - who wouldn't? - pretty much from the start. Michael Pitt plays the creep as a creep with good manners. So on the nose that doesn't manage to be frightening. He is shocking because of what he does but not for what he appears to be. He has no sexual presence. Tim Roth, as the weakling husband is disturbingly convincing and the young actor playing their son is truly wonderful. So here I am, talking about a film I kind of detested with unexpected respect. Michael Heneke may be one of those artists who are extraordinary self promoters, but he's an artist none the less and like real artist often do, divide, confront and provoke. So, did I like "Funny Games"? No. Will I see it again? Absolutely.
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