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The End of Violence (1997)

R | | Drama, Thriller | 12 September 1997 (USA)
The End of Violence Poster
Mike Max is a Hollywood producer who became powerful and rich thanks to brutal and bloody action films. His ignored wife Paige is close to leaving him. Suddenly Mike is kidnapped by two ... See full summary »

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, , | See full cast & crew »
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Cast

Cast overview, first billed only:
... Cat
... Claire
... Mike Max
... Paige
... Six O One
... Ray Bering
... Technician
... Frank Cray
... Lowell Lewis
... Anita
... Ade (as Nicole Parker)
... Brice Phelps
... Louis Bering (as Sam Fuller)
... Sheriff Call
... Ranger MacDermot
See full cast »
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Storyline

Mike Max is a Hollywood producer who became powerful and rich thanks to brutal and bloody action films. His ignored wife Paige is close to leaving him. Suddenly Mike is kidnapped by two bandits, but escapes and hides out with his Mexican gardener's family for a while. At the same time, surveillance expert Ray Bering is looking for what happens in the city, but it is not clear what he wants. The police investigation for Max's disappearance is led by detective Doc Block, who falls in love with actress Cat who is playing in ongoing Max's production. Written by Anonymous

Plot Summary | Add Synopsis

Plot Keywords:

interracial relationship | film industry | typewriter | lost identity | murder | See All (16) »

Taglines:

Nothing Lasts Forever

Genres:

Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for language | See all certifications »

Parents Guide:

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Details

Country:

| |

Language:

|

Release Date:

12 September 1997 (USA)  »

Also Known As:

El final de la violencia  »

Filming Locations:

 »
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Box Office

Budget:

$5,000,000 (estimated)

Opening Weekend USA:

$64,154, 14 September 1997, Limited Release

Gross USA:

$283,033, 5 October 1997
See more on IMDbPro »

Company Credits

Production Co:

, ,  »
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Technical Specs

Runtime:

Sound Mix:

| |

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

There is a scene in the film where we see a live recreation of the painting "Nighthawks" by Edward Hopper. See more »

Goofs

When Page is holding Mike at gunpoint she holds the gun upward with the bottom of the handle facing outward and the ammo clip is clearly missing. Yet when Mike exits through the patio door she fires the gun and shatters the glass. See more »

Quotes

Ramon: Violence is dead.
Six O One: No, no, no, no, no. Listen, let me tell you something friend. Violence is bigger than ever. You see, little baby white girls be piercing every floppy piece of skin they got, creaming to every flavor of gangsta. Pretty soon, records just gonna have the sounda... sounda gunshots on 'em! Man, everywhere you look, billboards got some big ass movie star holding some big-ass gun. Let me tell you something... motherfucker! Violence rules, man! Violence is flip! You don't like it, run...
See more »

Connections

References The Wizard of Oz (1939) See more »

Soundtracks

(Untitled) Heavy Beat Part 1 & 2
Written, Performed & Produced by DJ Shadow
Courtesy of Mowax Recordings
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User Reviews

 
Slow, slack, but still satisfying
23 June 2001 | by – See all my reviews

You don't turn to Wim Wenders when you're looking for nerve-tightening suspense. Though written (by Nicholas Klein, with Wenders) in paranoid-thriller form, the script lacks even a nubbin of McGuffin to anchor the narrative. Two stories run in parallel: Bill Pullman's an action-film producer gone missing after an attempt on his life; Gabriel Byrne's a NASA computer jock on loan to a mysterious satellite surveillance project. Just as yuppie cop Loren Dean is on the point of tying the two tales together, the movie's over, the plot unresolved.

Oh, well: Los Angeles (mainly Malibu, Santa Monica, and Griffith Park) looks great (cinematography Peter Przgoda), and Wenders has an uncanny ability to get actors to feel comfortable in their skins. The most notable skin in question is Traci Lind's: her role as a stunt-woman turned aspiring actress would have made her a star in a more mainstream movie.

If you're a Wenders fan, don't let the commercial failure of this film put you off: Compared to, say, 'Far Away, So Close' it's as electrifying as 'The 39 Steps.' And somehow, as usual, Wenders's almost childlike intensity of gaze makes you look harder, too. The aroma of the film lingers, even as its substance slides through your fingers like sand.
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