Critic Reviews



Based on 33 critic reviews provided by Metacritic.com
You can take a page from Wes Craven before he went flat and keep repeating, "It's only a movie; it's only a movie; it's only a movie." But is it?
Miami Herald
The experience of watching Funny Games, be it the original or this version, is never forgotten, whatever your ultimate impression of the film.
Can a movie be gripping and repellent at the same time? In Funny Games, a mockingly sadistic and terrifying watch-the-middle-class-writhe-like-stuck-pigs thriller, the director Michael Haneke puts his characters in a vise, and the audience too.
A stylish, darkly satirical horror-thriller, raising serious questions about Hollywood’s sanitisation of violence.
By and large, reviewers have conceded that the picture is exceptionally gripping and suspenseful while deriding its moral subtext as a crock. The only explanation possible for such fuming pettiness, in my opinion, is the fact that Michael Haneke isn’t one of us.
If this is daring in theory, it's a failure in practice. Exactingly well-made, the movie is grueling and unpleasant in the extreme - that's the point - but it's also working from a specious premise, that film-school Brechtian devices can bring on mass enlightenment.
It’s one thing to make a movie filled with mayhem and then implicate the audience for watching it; it’s another thing entirely to come back ten years later with the same movie, hype it with a marketing campaign, and try to implicate the viewer again. One nice thing about America is that you can’t be tried twice for the same crime.
Funny Games is fundamentally a bourgeois exercise in authorial sadism. As the methodical games grind on, the suffocatingly beige and white surroundings start to look like a mausoleum.
A patronizing, self-satisfied piece of work, Funny Games is Michael Haneke's way of chastising us for blindly following the traditional rules of entertainment.
Funny Games represents the laborious execution of an abstract notion. The concept is the movie, kind of like Andy Warhol's ''Empire'' (1964), an eight-hour stationary shot of the Empire State Building. You don't have to sit through the whole thing to get the point, unless you really want to.

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