One of the hardest parts about reviewing an 'art house' type movie is inherent in the genre's name: it's a lot like criticizing art. And if you've ever tried to criticize modern art, or almost any art, you're probably familiar with some brutal rebuttals and denials. The same is true for these 'art house' type movies. It's a lot easier to give the movie a good review and go, but bad reviews draw a lot more fire. This is harder for me as well, because I typically love these types of movies.<br /><br />But I did not enjoy this movie--and I don't mean in the general 'it didn't make me happy' sense. I mean it in the 'had little value, emotionally or artistically' sense. Depending on how you're looking at it, there were many ways in which the movie could have gained merit--you could look at the performance of the actors, the entertainment of the plot itself, the tension or suspense, the message or theme. It tried very hard, but I don't think that it was able to live up to any of its expectations.<br /><br />The most important aspect of this film when judging it is meant to be unconventional. It breaks film-making conventions and denies the audience's expectations over and over. For example, it breaks the fourth wall quite a few times--meant to be a punch in the gut for the audience as they are acknowledged as participants in the film. It denies the audience's expectation of gore by making almost all the violence occur off-screen, leaving only sound effects. Although the movie fulfills its aims in its unconventionality, what we are left with when all the conventions are broken is only the shell of a great movie. The over-the-top experience is gut-wrenching and terrifying, but that is the only real effect you are left with. The movie sucks one in by being unconventional, but the movie made a mistake in that it aimed to be unconventional without having a clear idea of what to do after convention was broken. The movie just seems to wander around, dragging a great premise through the dirt.<br /><br />Another criticism of the movie comes from the intentions of the movie's plot. This movie--and its director, based on his real-life comments on his purpose in remaking a film shot-for-shot--is, in a word, pretentious. Haneke himself states that "It is a reaction to a certain American Cinema, its violence, its naïveté, the way it toys with human beings" (The Village Voice). Already there lies pretentiousness in the idea of remaking your own movie only ten years after the original, with practically the only change being the language. Already you're assuming that Americans will actually watch your movie just because it's in English, and on top of that, you're assuming that the bourgeois depiction of the 'victims' would be more fitting in American theaters. Then, you're saying that the violence message is more fitting in American theaters. I'll go ahead and dissect why all this pretentiousness bears no redeeming fruit.<br /><br />First point: American cinema is more focused on and condoning of violence than other countries' cinema. This point is already rendered practically untestable by the fact that there is no movie industry in the world that is quite comparable to Hollywood. Most industries are much smaller, and even the most comparable industry in terms of size (Bollywood) is not a fair comparison due to drastically different genre and stylistic focus. The established industry of film in America has the negative side effects of allowing low-quality and low-standards movies to be produced and distributed on a massive scale, as long as it provides a hook to entice consumers. The amount of violence in Hollywood is highly overemphasized, and is inevitable in the industry due to its inevitable hook. Also, these movies do fairly well in other countries (in terms of box office), suggesting that it's not strictly an American issue.<br /><br />Second point: The bourgeois characteristic of the characters is more appropriate in American theaters. Although there are plenty of yuppies, brownnosers, and bourgeois in America, I think it's unfair to say the bourgeois appearances of the characters are more of an American feature than German, or French, or English, whatever developed country you like. It's a common human attribute, a longing to move up in life, and enjoying a higher standard of living--not something I agree with, but everyone's seen it in action. Both this point, and the previous one, simply show a narrow-minded judgment on the part of the director.<br /><br />And the most, MOST important point to why this film did nothing for me: The film delivers a message about violence, especially in regards to middle/upper-class culture. This movie said nothing of importance to me. If you want to find a message like this, look at Clockwork Orange. There is no denying that Clockwork Orange effectively conveys a message about violence and morality in the modern world. This movie was looking and looking to make a point about violence, something about how watching violence and indulging in violent movies is akin to the violence itself. It got halfway there in that it drew the audience into the experience and almost created a sense of guilt. But it was unable to go much further. It did not even justify a nihilistic view, because the way in which the movie was made, especially the semi-surrealism of the actual events and the 'rewind' feature, at least reveals intent in creating a point. It circles round and round and ends up no where at all.<br /><br />I would call this movie avant-garde if it actually made any impact on me. A film can seek to chase beauty, tell a story, delight viewers, convey a message, play on a theme, or invoke an emotion, but when a film does none of these it loses its value as a piece of art. And this is exactly where Funny Games ends up.