Carnage (2011)

Featured Audience Ratings

• Dan S

  
  A dialogue-driven bash in the face of parenthood and the facade of interacting with other parents, especially when it is due to a dispute that leaves one couple's son physically injured after the other couple's boy attacks him, which leads to a verbal session in a nice New… More
  A dialogue-driven bash in the face of parenthood and the facade of interacting with other parents, especially when it is due to a dispute that leaves one couple's son physically injured after the other couple's boy attacks him, which leads to a verbal session in a nice New York apartment. While obviously more fit for the stage than the medium of film, director Roman Polanski gets the most out of his actors to make this thing engaging and realistic despite being only 80 minutes and on the way out of the door when it starts. While Jodie Foster overacts a tad, the rest of the cast is pretty spot on, notably John C. Reilly in a hilariously relaxed performance that unexpectedly changes gears in the latter half of the film that makes it all the more funny and involving. It is no "Who's Afraid of Virginia Woolf?", but it is an impressive small-scale effort on how protecting one's image through the use of performing and acting instead of being yourself from the start can lead to disastrous results that ultimately lead to others questioning one's security and trustfulness.

• Daniel P

  
  Darkly funny, scathing indictment of what passes for "normal" or "responsible" parenting in our society. Obvious when watching that it was first a play, but it's not to the film's detriment; one room, four actors, and one central problem to resolve: which… More
  Darkly funny, scathing indictment of what passes for "normal" or "responsible" parenting in our society. Obvious when watching that it was first a play, but it's not to the film's detriment; one room, four actors, and one central problem to resolve: which child should be blamed for a playground fight that left one of the two with a dental bill in the several thousands. Great because of the way the focus shifts from character to character, a real "L'enfer, c'est les autres," a la Sartre ("Huis Clos," usually translated to "No Exit" in English), as each one is pressed for their role/responsibilty in the situation. The ending, unfortunately, doesn't really resolve anything, but this is perhaps the point of the script: this is the most likely endpoint in a litigious, moral relativist society. Great acting, and very short, which helps you stay within its close quarters. Good work from Polanski, who I'm still barely acquainted with... I'll definitely watch more of his films.

• Matthew S

  
  For these four parents, this is hell. In a movie that lasts 80 minutes, we witness an 80-minute-long scene where politeness and courtesy clash with tribal loyalty and the pursuit of truth. One mother (Foster) believes in community and civility on paper, but in practice she is the one… More
  For these four parents, this is hell. In a movie that lasts 80 minutes, we witness an 80-minute-long scene where politeness and courtesy clash with tribal loyalty and the pursuit of truth. One mother (Foster) believes in community and civility on paper, but in practice she is the one in the room that is furthest from these ideals and yet has deceived herself into thinking she is the shining example. Kate Winslet's character tries very hard to avoid conflict and suffers from a ceaseless need for approval. Her cold, hot-shot husband is a philosopher king like Socrates, asking broad questions that try to establish or at least mock others' perceptions. The husband of Foster's character is no match but lucks-out as the two men often agree and share similar appreciation in drink and cigars. Power is passed around these four like a game of hot potato until eventually everyone gets hurt and no one wants to play anymore. The contrast between their composure at the beginning and the end is comically fascinating and warranted a second viewing, and this is required if you want to catch what really happens between their kids in the opening and closing shots.

• Mark H

  
  Eavesdropping on the intimate conversation of these four acting greats is worth a look, To say the movie is stagy is to miss the point. It's supposed to be a claustrophobic, pressure cooker in a tastefully decorated living room. However this is the sort of production that… More
  Eavesdropping on the intimate conversation of these four acting greats is worth a look, To say the movie is stagy is to miss the point. It's supposed to be a claustrophobic, pressure cooker in a tastefully decorated living room. However this is the sort of production that benefits from the immediacy of a live performance. A theatrical film makes demands on the viewer that actually hurt the story's theater roots. These sorts of intellectual pieces unfold much better on a small TV screen where the sitcom like setup is more enjoyable. Who's Afraid of Virginia Woolf? is an obvious inspiration. Carnage is interesting, but the script doesn't achieve anything close to the truly biting commentary of that classic. We keep waiting for a defining moment that never arrives and ultimately has nothing really profound to say. At least these actors ensure that things are always entertaining. The disintegration of the cordial facades of the bourgeoisie into chaos is still a consistent watch

• Film C

  
  I really wanted to watch this movie and now that i've seen it i am not disappointed! Its going to be a Marmite kind of film, your either going to Hate it with a passion or just absolutely Love it ! Me personally i Loved it! I thought it was original, written extremely well, it… More
  I really wanted to watch this movie and now that i've seen it i am not disappointed! Its going to be a Marmite kind of film, your either going to Hate it with a passion or just absolutely Love it ! Me personally i Loved it! I thought it was original, written extremely well, it was acted beautifully which isn't a shock when its such a great cast! Its nice to see that Polanski has done one better than Ghost Writer as that was a truly dreadful movie! Its made beautifully and it sticks to the true form of being a play, which is great! Its Just a good movie that is thoroughly enjoyable and i just loved the ending a true play form which i loved!

• ♥˩ƳИИ &

  
  Cast: Kate Winslet, Jodie Foster, John C. Reilly, Christoph Waltz, Elvis Polanski, Eliot Berger Director: Roman Polanski Summary: In this comic drama from director Roman Polanski, two sets of parents meet in the aftermath of an incident in which one of their children bullied the… More
  Cast: Kate Winslet, Jodie Foster, John C. Reilly, Christoph Waltz, Elvis Polanski, Eliot Berger Director: Roman Polanski Summary: In this comic drama from director Roman Polanski, two sets of parents meet in the aftermath of an incident in which one of their children bullied the other. As the evening progresses, the adults confront each other in increasingly hostile ways. My Thoughts: "The film works. I know some will hate it or love it, I happen to be one that enjoyed it. It's a funny film. It starts out being about their sons playground brawl, but it soon insues into madness when the conversations start getting personal and honest. They soon start verbally attacking one other, but also each others marriages as well as their own and one anothers parenting. It's a conversation you don't want to miss. The acting is great and has to be considering its set in one place. I wouldn't mind seeing it again."

• Mark W

  
  "God Of Carnage" by Yasmina Reza was originally a stage play that featured on Broadway, with such talented performers as James Gandolfini, Jeff Daniels, Marcia Gay Harden and Hope Davis. Supposedly, it was quite a powerful piece, so Roman Polanski always had his work cut out… More
  "God Of Carnage" by Yasmina Reza was originally a stage play that featured on Broadway, with such talented performers as James Gandolfini, Jeff Daniels, Marcia Gay Harden and Hope Davis. Supposedly, it was quite a powerful piece, so Roman Polanski always had his work cut out in adapting it for the screen. Alan and Nancy Cowan (Christoph Waltz and Kate Winslet) pay a visit to Michael and Penelope Longstreet (John C. Reilly and Jodie Foster) to discuss an upsetting schoolyard incident in which the first couple's son has beat up the other's. These four intelligent adults, hope they can resolve their differences with a positive approach and teach their children about responsibility, instead of resorting to physical or verbal abuse. However, things don't quite work out that way. Having not seen or read the play, my experience of this is based solely on Polanski's version. He has been criticised for not capturing the claustrophobia of the play but I have to say that the film really worked for me. There is obvious tensions between the characters and with nowhere for them to go but to sit around a cramped apartment, talking through their differences, the tension builds admirably. Granted, it wasn't as intense as I was expecting but what it did have (that I wasn't expecting) was a lot of humour. This is mainly down to four joyful performances. Throughout their (intended) cordial meeting, each character displays their viewpoints. In the beginning, they're subtle but as tempers begin to fray, they get more vicious with their barrage of abuse towards one another. The conduct of their behaviour often reflects their chosen professions. Foster is an aspiring writer, choosing her words carefully; Waltz is a high profile attorney who jumps on her every word; Winslet the frustrated housewife and Reilly, a low-key salesman finding himself the go-between during the escalating discomfort. Each one of the four actors put in fine performances but Reilly and Waltz are the particular standouts. Polanski himself, doesn't have to do much but allow his actors to take charge of their roles. And that they do. Capturing claustrophobic situations and heightened tensions between his characters is a notable gift that Polanski has shown throughout his films. The most notable comparison (also based on a stage play) is "Death And The Maiden". So, that being said, it's surprising that he was criticised for a lack of it here. If you go into this expecting humour then you won't be disappointed and it's always a bonus that the actual playwright contributes with the screenplay also. A finely tuned chamber piece that delivers a real sense of uncomfortable cordiality. The characters are identifiable and the actors deliver with aplomb.

• familiar s

  
  I don't see much of an option on how to wrap it up. It'd to stop at one point than another. But Polanski manages to pull it off reasonably well. Being armed with fine actors does help. However, Kate & Jodie do get totally theatrical towards the end. It's too… More
  I don't see much of an option on how to wrap it up. It'd to stop at one point than another. But Polanski manages to pull it off reasonably well. Being armed with fine actors does help. However, Kate & Jodie do get totally theatrical towards the end. It's too apparent how unreal the act is when the camera focuses on Kate's face (close-up) on her outburst at the end. Outburst may not be the right word for the movie is full of it, but that's what coming to mind right now. Other than that, it works as a time pass. If you're not anti-Polanski, it's worth a shot. It's not the usual Polanski flick, though. A bit Woody, maybe, but it's easy to find many of the genre. Too easy. I'm an exception for the time being, though. But I'm sure there are many. Take that one, for instance. Or that one. Anyone that you prefer. Okay, wrapping it up. Hope you'd be able to laugh off the childishness.

• Ken S

  
  Great performances and defiantly funny, but it feel like it's missing something. Like an ending maybe.

• Spencer S

  
  It played out exactly how I thought it would go. This "comedy" is based on the play "God of Carnage" and was directed by the enigmatic Roman Polanski. The film has the same parameters of a play, including a small cast of characters and keeping within a small space,… More
  It played out exactly how I thought it would go. This "comedy" is based on the play "God of Carnage" and was directed by the enigmatic Roman Polanski. The film has the same parameters of a play, including a small cast of characters and keeping within a small space, which is an apartment in this film. The plot is simple, and anyone can tell you nothing much happens except that four parents talk about the semantics of their two children's fight in a park. Things do in fact happen, as the foursome escalates gradually from people with quiet dispositions and forced humility, to brooding, fighting children. That seems to be the entire pretense of this very short film: the creative deconstruction of four people who have liberal values, care about political correctness, and are trying to be courteous to one another. Then, everything starts breaking down, as one husband reveals his mollifying, petty side, while the other is a hypocritical, philosophical man with as much apathy as a Goth contender. Meanwhile the wives are counterintuitive, slighting, and suspicious of one another. One seems to be the high moral type with a far tilt towards obsession for her son, while the other tries for acrimony amongst the fray. What it really comes down to, is that the film turns these people, possibly masked by insecurity and bias for their children, and gets them fighting as social rejects. They form alliances, and not just with their spouses, and fall into name calling, and poking fun at one another's expense as often as possible. Their situation mirrors that of their children, and possibly sheds light on people's weaknesses. At the end I wasn't quite sure if they were in fact the slags they claimed to be, or if they each had marriages on the brink of crumbling, but as a character study, and a chance to show the slights of adults deforming into juvenile tantrums, I was enthralled. The four actors chosen were brilliant, and I wouldn't have changed anything about this predicament. The ending was abrupt, but not out of place. Still, it certainly was not a comedy by any means, unless senseless indecency and reckless abandon are your cup of tea. It really made me uncomfortable, and was slow and methodical throughout. Not my kind of film, but definitely not lacking. Loved the direction, and the simplicity, and I do recommend it outright.

• Lewis C

  
  Interesting movie with a great cast, but more than anything else, it made me want to see the play that it's based on.

• Lorenzo v

  
  <i>"Morally you're supposed to overcome your impulses, but there are times you don't want to overcome them."</i> Two pairs of parents hold a cordial meeting after their sons are involved in a fight, though as their time together progresses,… More
  <i>"Morally you're supposed to overcome your impulses, but there are times you don't want to overcome them."</i> Two pairs of parents hold a cordial meeting after their sons are involved in a fight, though as their time together progresses, increasingly childish behavior throws the evening into chaos. <center><font size=+2 face="Century Schoolbook"><b><u>REVIEW</u></b></font></center> Working on a "sense of community," the two couples in Carnage engage in slowly evolving urban warfare, precipitated by violence in the playground between their two sons. This adaptation from the Broadway play, God of Carnage, is a soberer (by a little) version of Edward Albee's Who's Afraid of Virginia Woolf? Penelope (Jody Foster) and Michael (John C. Reilly) host Nancy (Kate Winslet) and Alan (Christof Waltz) in their Brooklyn apartment to iron out difficulties coming from their sons' fight, which resulted in Penelope and Michael's son's mangled mouth. What begins civilly escalates to a raw verbal mêlée with all players laying bare their prejudices and weaknesses while the issue of the repentance of Nancy and Alan's child becomes a vehicle for class and culture clash. As in director Roman Polanski's Rosemary's Baby, the action is almost exclusively in the small, one bedroom apartment, resulting in an uncomfortable crowding of bodies and egos. And it doesn't take long for the individual differences to surface as one is conciliatory, another confrontational, another detached, and another bewildered. Nor does it take long (only an 80 minute production anyway) for alliances to build (and not necessarily in the same couple) with the refrain "Why are we still here?" becoming the battle cry. Yes, it doesn't turn out well, nor would most confrontations except that the civil veneer usually stays intact for most of us. But when writers Yasmina Reza and Polanski allow the characters to speak their minds, albeit helped by Scotch, the drama gets good and the words become socially lethal. What I like best is the language, not elevated but sassy, smart, and colloquial: "Should we wrap this up?" Yes, it is a film to be wrapped, but there is no real end to the social jousting that goes on in our minds if not our mouths, which are sometimes beaten badly as careless children might do in their play.

• Manu G

  
  A new comedy of no manners. Good movie. The film was short but it was fine because the plot of the story wasn't enough for a whole 2 hour movie. The four talented actors really show there talent. It was a funny film more than a serious film which at first it thought it was and… More
  A new comedy of no manners. Good movie. The film was short but it was fine because the plot of the story wasn't enough for a whole 2 hour movie. The four talented actors really show there talent. It was a funny film more than a serious film which at first it thought it was and i'm glad I was wrong. This film I must say its not for everyone because it's not your typical comedy film. In Brooklyn Bridge Park, eleven year old Zachary Cowan strikes his eleven year old classmate Ethan Longstreet across the face with a stick after an argument. Among the more serious of Ethan's injuries is a permanently missing tooth and the possibility of a second tooth also being lost. Their respective parents learn of the altercation through Ethan's parents questioning him about his injuries. The Longstreet parents invite the Cowan parents to their Brooklyn apartment to deal with the incident in a civilized manner. They are: Penelope Longstreet, whose idea it was to invite the Cowans, she whose priorities in life include human rights and justice; Michael Longstreet, who tries to be as accommodating as possible to retain civility in any situation; Nancy Cowan, a nervous and emotionally stressed woman; and Alan Cowan, who is married more to his work as evidenced by the attachment he has to his cell phone and taking work calls at the most inopportune times. Although the meeting starts off civilized enough, it quickly degenerates after an unfortunate incident by Nancy. The degeneration of their meeting not only has to do with their boys' fight, but also the other couple's fitness as parents, the state of their respective marriages and their place in a crazy world.

• Stephen M

  
  To borrow a phrase from Douglas Adams, could this be the fourth part of Roman Polanski's Apartment Trilogy? Well, no, not really. The setting certainly fits - two couples meet in an apartment to discuss an altercation between their respective sons, which left one boy needing… More
  To borrow a phrase from Douglas Adams, could this be the fourth part of Roman Polanski's Apartment Trilogy? Well, no, not really. The setting certainly fits - two couples meet in an apartment to discuss an altercation between their respective sons, which left one boy needing medical attention - but whereas those earlier movies (<I>Repulsion</I>, <I>Rosemary's Baby</I> and <I>The Tenant</I>) focused on a single alienated individual gradually losing his/her marbles, <I>Carnage</I> gives us four, equally weighted characters in danger of losing nothing graver than their composure. The film, therefore, more readily qualifies as another of Polanski's perverse <i>ménage</i> movies (<I>Knife in the Water</I>, <I>Cul-de-Sac</I>, <I>Bitter Moon</I>, <I>Death and the Maiden</I>), notably <i>á quatre</i> this time around rather than <i>á trois</i>. Polanski's wicked sense of humour is usually evident in even his most serious-minded films, but what distinguishes <I>Carnage</I> from most of his work, the Apartment Trilogy and his <i>ménages</i> alike, is that the picture is played exclusively for laughs. With this in mind - when, for once, claustrophobia is not is not on the menu - it's interesting to note that apart from the couple of static shots filmed in a park that bookend the movie, the director restricts himself more than ever before to one single, solitary set: the apartment. <I>Carnage</I> is also distinguished among Polanski's work by it's brevity; he is one of those directors whose output almost invariably exceeds the two hours mark, so at just 79 minutes long this is easily the shortest feature he has ever made. Superficial, perhaps, but with Coppola's long-time production designer Dean Tavoularis on board, rest assured that the surface is impeccably detailed.

• Saskia D

  
  An intense, sweltering melodrama with a lot of humor. It reminds me of Who's Afraid of Virginia Woolf? It has the same vibe and a similar setting. Two couples that haven't met before. And the façade of their carefully cultivated lives is destroyed after a couple of drinks.… More
  An intense, sweltering melodrama with a lot of humor. It reminds me of Who's Afraid of Virginia Woolf? It has the same vibe and a similar setting. Two couples that haven't met before. And the façade of their carefully cultivated lives is destroyed after a couple of drinks. It's a pleasure to watch. The best movie of 2012 so far.

• danny d

  
  wow what a weird film. i loved it completely, but there really is nothing to it, except of course for clever photography, wonderful dialogue, and simply perfect acting. how do you engage the audience with 4 actors sitting in a single room for 80 minutes? polanski pulls it off well.… More
  wow what a weird film. i loved it completely, but there really is nothing to it, except of course for clever photography, wonderful dialogue, and simply perfect acting. how do you engage the audience with 4 actors sitting in a single room for 80 minutes? polanski pulls it off well. foster had her moments of overacting and the dialogue gets a bit muddled at one moment towards the end, and reilly's character is a bit inconsistent although he is very entertaining, but the humor is top notch and the philosophical undertones very interesting. really a sleeper of a great film.

• Tracy K

  
  Sly and funny, sometimes uncomfortably so; a rather clever and quite entertaining depiction of the raw emotions and unpleasant truths that lie buried not so very far beneath our carefully constructed veneers of civility. Super job by all four leads, but even among such a cast Jodie… More
  Sly and funny, sometimes uncomfortably so; a rather clever and quite entertaining depiction of the raw emotions and unpleasant truths that lie buried not so very far beneath our carefully constructed veneers of civility. Super job by all four leads, but even among such a cast Jodie Foster manages a particularly stand-out performance.

• Josh M

  
  Carnage is a mostly entertaining, often funny filmed play, but it's got all the claustrophobia and over the top shrill acting you would expect. Despite Polanski's skills, he made no attempt to 'open up' the action, and kept the entire film in 'real time'… More
  Carnage is a mostly entertaining, often funny filmed play, but it's got all the claustrophobia and over the top shrill acting you would expect. Despite Polanski's skills, he made no attempt to 'open up' the action, and kept the entire film in 'real time' mode. Sadly, it feels weirdly long, despite the unusually brief running time. The story is the aftermath of a bullying incident when one of their kids has injured another one in a schoolyard brawl. The attempt to mediate the damage goes horribly wrong in the poorer couple's Brooklyn appartment. Most of the time you feel the actors are yelling at the top of their lungs and it gets tiresome. For a similar story and a far more successful filming of a play, check out the Mike Nichols Burton/Taylor vehicle 'Who's Afraid of Virgina Woolf?" a masterpiece on every level, which finds just the right tone. (It's also a far better play, thanks to the great Edward Albee) The Carnage cast are all unimpeachable, the best being annoying crunchy granola do gooder from hell, and John C. Reilly as her regular Joe husband who's concealing some anger issues. Kate Winslet uses her usual acting chops to good effect, but she has the least defined role, a over acheiving Upper east side type professional momma. The great Christoph Waltz is the weakest link, due to playwright Yazmina Reza's one dimensional take on the wealthier and more superficial couple and the fact that he's just a tad miscast. The main culprits for this film being disappointing are Reza's play, which is a thesis on how close to barbarity all humans are, even in 'civilized' educated circles, but she uses one dimensional characters to make her point, albeit with wit and intelligence. Polanski did not do enough adaptation here, and a less faithful take on the source material would have been welcome. Worth a rental but don't go out of your way.

• Matt G

  
  So so good. Totally engrossing film featuring fantastic performances from Waltz and Winslet. An unforgettable experience that I cannot wait to see again.

• Sam B

  
  Believable characters, impressively realistic dialogue and an uncomfortable journey into human psychology, Carnage is great fun to watch until it becomes a bit of an exhausting drag, just as the filmmakers planned. As such, it won't be for everyone, but anyone who wants to see… More
  Believable characters, impressively realistic dialogue and an uncomfortable journey into human psychology, Carnage is great fun to watch until it becomes a bit of an exhausting drag, just as the filmmakers planned. As such, it won't be for everyone, but anyone who wants to see all four of these actors at their best may want to brave the claustrophobic tale of four parents who want to be good people, but may just be hiding from how horrible they actually are.

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