Carnage

Mia Calavera

I was glued to the screen throughout the movie. It could have gone incredibly wrong without the superb performance of the cast. The un-nerving part is how naturally the situation develops and how easy it is to relate to each one of them. Love it.

Dalibor

Underappreciated little gem of a movie, which daringly attempts to adapt a perfectly suited theatrical piece to a celluloid. Amazingly well balanced and inexplicably entertaining it did, however, come close to falling apart when political implications became flat and acting went over-the-top (I'm looking at you, Jodie).

Joshua

I could hardly handle this film. Magnificent, performances and all. I laughed hysterically for minutes on end, because of how fucking true to life these people and their stances are. It's the appropriate kind of nihilism. Bull shit. 5/5

Risya

Loved loved loved the dialogue-driven and the acting displayed! I loved watching these four interesting characters let loose and finally unravel. The script was well-written with plenty quotable lines. It manages to obtain splendid humour, social remark, compassion, and passive-aggressive behavior. I didn't want this movie to end!

Mr.Wolf

Fantastic, I know this is an adaptation from the play, but incredible. I love the facial expressions of each actor, the way they connect with each other in a way. Yet later it becomes a perfect reflection of what being in a relationship truely gives way to, mixed with the social correct form of ethics, that later go to hell, when each on spews what they think, losing and gaining trust with each other. Loved it!

Ryan Clark

A perfectly cast, exquisitely acted play on film, expertly staged by Polanski and company. This biting satire of married life and parental conflicts is very reminiscent of Virginia Woolf, and it's predictable at times, but it's so clever that you never really mind. It would be a crime if each of the four actors were not nominated for Oscars. Just brilliant!

smndvdcl

Mundane tragicomic dystopia where a bunch of middle-class types with ideological clashes whip up a frenzy. Foster, Reilly, Winslet and Waltz clearly had a lot of fun with this one. Its conversational emphasis and nounness of interior location seems almost primed for theatre (hence, God of Carnage) - the blurred boundary between these mediums is increasingly interesting. A case to distance the art from the artist.

T. J. Mesen

Carnage opens on a static long take showing a violent dispute between two children. It's followed by an analogous deterioration between their parents, who are contained within one apartment in which the viewer is also brilliantly situated by the camera's placement and numerous tracking shots as another member of the chaos. Social norms break down and notoriously the children they so (un)lovingly protect are absent.