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Siskel and Ebert review 'The End of Violence'


http://bventertainment.go.com/tv/buenavista/ebertandroeper/index2.html ?sec=6&subsec=the+end+of

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Very interesting. I've never seen Ebert & Siskel so divided on a film. That review perfectly illustrates the 2 reactions to this film. The Ebert types don't get it, so they say it's pointless, silly and full of plot holes. The Siskel types grasp everything--the plot, theme and poetry behind it--and they give it high praise. It's a similar phenomenon with 2001: A Space Odyssey (which Ebert also didn't get).

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Ebert gave 2001 four stars in his initial review and includes it on his top 10 list.

If I could drop dead right now, I'd be the happiest man alive.

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Ebert was wowed by the special effects, like a child dazzled by pretty lights, but it's clear from his 1968 review that he didn't get it, saying "it failed on a human level" and totally missing the philosophy. After some 30 years of consideration (and the film's incontrovertible success) he wrote another review, put it in his top 10 list and claimed that his first review was hurriedly written to meet a deadline. So yeah maybe in 30 years he'll change his tune about End of Violence if it becomes a smash success...

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There were plenty of abstract, impenetrable art films made over the decades that Ebert "got". Your dismissal of "Ebert types" (whatever that is) is silly and unfounded. Ebert praised plenty of other Wenders films that were/are better than this one. 'The End of Violence' is a minor work ( I say this as someone that isn't much of a Wenders fan).

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Didn't mean to offend the Ebert fanboys out there; I was just talking about his particular reactions to End of Violence and 2001 A Space Odyssey.

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http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19970926/REV IEWS/709260303/1023

from Ebert's review: "Wim Wenders is a gifted and poetic German filmmaker whose reach sometimes exceeds his grasp. It helps when he has some kind of clear narrative thread to organize his material--as he did in ``Kings of the Road'' (1976), where two men confront their problems within the conventions of a road movie, or ``Paris, Texas'' (1984), with Harry Dean Stanton as an amnesiac trying to piece together the pieces of his life. Those films had goals, as did the search for the sharing of loneliness in ``Wings of Desire.'' ``The End of Violence,'' on the other hand, doesn't seem sure what it is about, or how it is about it. There is an abundance of ideas here, but they're starting points, not destinations. Wenders is able to invest individual scenes with a feeling of urgency and importance, but at the end there is a certain emptiness, a feeling that the movie has not really been pulled together."

So, in other words, there is no "there" there?


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