"Carnage," an ultra-black comedy, drips vitriol from every frame as four adults trapped in a well appointed apartment/cage devolve into nasty kids. In the end, "Carnage" has all the appeal of a mean-spirited, seventy-six minute fight with a spouse or significant other.
It's postulated language was invented to hide, not communicate, what people think. "Carnage" is the proof.
"Carnage" is nothing without the players. In a high-wattage cast Foster shines brightest. Playing an alcoholic, neurotic, wrapped-way-too-tight writer of books no one wants to read about political situations no one cares about, there's tension in every muscle, every clipped word. Waltz, an unctuous Pharmaceutical Spin Doctor, stands out as well: self satisfied smirk on face with barely concealed contempt in eyes.
Reilly is, well, the serviceable, limited range Reilly we've come to expect. He plays the passive/aggressive, people pleasing Teddy Bear/Mook well, but here, as a Hardware Store Owner, he simply hits marks, delivers lines. As an Investment Banker, the usually terrific Kate Winslet is only shrill in a phoned in performance. (Though she should receive an Oscar nomination for 'Best Projectile Vomit By An A-Lister'.)
The Players aside, "Carnage" wears additional holes in an old, old carpet. With nothing new or fresh to add about the human condition, marriage, relationships or parenting, there only remains a dreary afternoon spent with four clueless idiots with nary a whit of self knowledge. There's no caring about these adult-children, and less interest in the drivel they spit like venom.
Unfortunately, too, the potency of Political allegory is untapped. There's only allusion to the dichotomies between activist/lobbyist, regular guy/elite, Wall Street/Main Street. Even the eye-to-eye Alpha Male stare down between Reilly and Waltz is risible.
The film's central conflict centers on a violent episode between the parent's children. The film opens with the incident and ends with the two boys as friends. (Given their dysfunctional, near abusive environments, it's surprising the kids didn't wield Mac 10s.) This is the sole message in a truly disappointing film - a son does not have to bear the sins of the Father (or Mother). Stop The Presses!!!
On a practical level, the plot devices used to keep the Waltz/Winslets from spiriting away from the conflict on the elevator are beyond logic and believability.
Toothless and a bore, "Carnage" is a star-powered flop that had this reviewer checking the time every five minutes. And showering after.
It's postulated language was invented to hide, not communicate, what people think. "Carnage" is the proof.
"Carnage" is nothing without the players. In a high-wattage cast Foster shines brightest. Playing an alcoholic, neurotic, wrapped-way-too-tight writer of books no one wants to read about political situations no one cares about, there's tension in every muscle, every clipped word. Waltz, an unctuous Pharmaceutical Spin Doctor, stands out as well: self satisfied smirk on face with barely concealed contempt in eyes.
Reilly is, well, the serviceable, limited range Reilly we've come to expect. He plays the passive/aggressive, people pleasing Teddy Bear/Mook well, but here, as a Hardware Store Owner, he simply hits marks, delivers lines. As an Investment Banker, the usually terrific Kate Winslet is only shrill in a phoned in performance. (Though she should receive an Oscar nomination for 'Best Projectile Vomit By An A-Lister'.)
The Players aside, "Carnage" wears additional holes in an old, old carpet. With nothing new or fresh to add about the human condition, marriage, relationships or parenting, there only remains a dreary afternoon spent with four clueless idiots with nary a whit of self knowledge. There's no caring about these adult-children, and less interest in the drivel they spit like venom.
Unfortunately, too, the potency of Political allegory is untapped. There's only allusion to the dichotomies between activist/lobbyist, regular guy/elite, Wall Street/Main Street. Even the eye-to-eye Alpha Male stare down between Reilly and Waltz is risible.
The film's central conflict centers on a violent episode between the parent's children. The film opens with the incident and ends with the two boys as friends. (Given their dysfunctional, near abusive environments, it's surprising the kids didn't wield Mac 10s.) This is the sole message in a truly disappointing film - a son does not have to bear the sins of the Father (or Mother). Stop The Presses!!!
On a practical level, the plot devices used to keep the Waltz/Winslets from spiriting away from the conflict on the elevator are beyond logic and believability.
Toothless and a bore, "Carnage" is a star-powered flop that had this reviewer checking the time every five minutes. And showering after.